Error message
- Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 389 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 1 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 1 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 2 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 2 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 3 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 3 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 4 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 4 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 5 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 5 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 6 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 6 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 7 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 7 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 8 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 8 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 9 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 9 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 10 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 10 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 11 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 11 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 12 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 12 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 389 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 388 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 0 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances() (line 392 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 1 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 1 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 2 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 2 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 3 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 3 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 4 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 4 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 5 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 5 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 6 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 6 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 7 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 7 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 8 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 8 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 9 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 9 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 10 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 10 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 11 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 283 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19) - Warning: Undefined array key 11 in Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback() (line 306 of modules/contrib/footnotes/src/Plugin/Filter/FootnotesFilter.php).
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Over the course of his artistic life, Marsden Hartley sought unmediated communion with open skies and rugged terrain. Although the mosaic-like compositions that he created during his first trip abroad in 1912 embodied his strong emotions about “the cosmic scene,”Hartley to Rockwell Kent, December 1912, cited in Thomas Ludington, Seeking the Spiritual: the Paintings of Marsden Hartley (Ithaca, NY: Cornell University Press, 1998), 28. he sustained an innate belief that the spiritual in nature could only be acquired through direct experience of landscape. Hartley’s “mystical abstractions,” as he called them, drew inspiration from the paintings of Picasso and by the writings of Wassily Kandinsky, but he was also deeply moved by the art and letters of Vincent van Gogh. He sought out Van Gogh’s paintings from the moment he arrived in Paris, describing the artist to Alfred Stieglitz as “an eminently spiritual being”Hartley to Stieglitz, n.d. (received December 20, 1912),* My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915*, James Timothy Voorhees, ed. (Columbia, SC: University of South Carolina Press, 2002), 47. with a “visionary quality that gives his canvases their beauty.”Hartley to Stieglitz, n.d. (February 1913, Paris), My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912–1915, 57. Hartley’s first letter to Stieglitz from Paris on April 13, 1912, p. 12, declared “I saw 8 Van Goghs this afternoon.” He continued to seek them out in Paris and expressed regret that it would not host the “great show at Cologne with 100 Van Goghs” that was held in Cologne that summer [Sonderbund westdeutscher Kunstfreunde und Künstler, Ausstellungshalle der Stadt Cöln am Aachener Tor, 25 May–30 September 1912] n.d. (September 1912, Paris). The sensations of nature that inspired Van Gogh remained foremost in Hartley’s consciousness when he returned to Europe after the first World War, having expressed to Stieglitz a desire to seek “fresh landscape experiences” in the south of France.Hartley to Alfred Stieglitz, December 28, 1922, Stieglitz Papers, Beinecke Rare Book Library, Yale University. He was anxious to be financially independent from the demands of the art market, but it was not until 1924 that an economic solution presented itself. At the urging of US diplomat William C. Bullitt, who had recently married Hartley’s friend Louise Bryant,Hartley’s circle of friends in Provincetown in the summer of 1916 included journalists Bryant and John Reed (1887–1920), whom she married that fall. Bryant married Bullitt after Reed’s death and introduced him to Hartley in Paris in 1924. In his autobiography, Somehow a Past (Cambridge, MA: MIT Press, 1997), 128, Hartley wrote that he and Bullitt “liked each other from the start.” a syndicate of investors was organized by the New York banker William V. Griffin to provide Hartley with an annual stipend of $2000 for four years. The initial offer was made without demand for compensation, but Hartley insisted sending his benefactors 10 paintings each year “so that I could feel I was earning my living thereby avoiding gifts.”Hartley, Somehow a Past, 132, described his determination to repay the investors with paintings and “to deliver, according to my own suggestion, a certain number of pictures in the year—so that I could feel I was earning my living thereby avoiding gifts.” Discussion and documentation of this arrangement appear in Townsend Ludington, Marsden Hartley: The Biography of an American Artist (Ithaca, NY: Cornell University Press, 1992), 174, citing Hartley’s letters to Norma Berger, September 1, 1924, and to Alfred Stieglitz December 18, 1924; in Bruce Weber, The Heart of the Matter: The Still Lifes of Marsden Hartley (New York: Berry-Hill Galleries, 2003), 52; and in Heather Hole, Marsden Hartley and the West (New Haven, CT: Yale University Press, 2007), 130. Hole cites a letter from Leila Wittler at M. Knoedler & Co. to Miss Irvine at the Whitney Museum, February 1945 (Elizabeth McCausland Papers, Reel D268, fr. 44) identifying the investors: banker James Imbrie, former secretary of the navy James Forrestal, and Ralph Ingersoll, who was married to Griffin’s sister-in-law. Mrs. Griffin’s brother, Judge George Carden, was elsewhere mentioned as an investor. http://www.berry-hill.com/artists/marsden-hartley. In August 1925 Hartley settled in Vence in a house with a garden and a distant view of the Mediterranean. Although he found delight in visits to nearby Cannes, his artistic progress was plagued by bronchitis and rainy weather, and he eventually determined that the immediate countryside of Vence was “nice to look at but not to paint.”Hartley, Somehow a Past, 132. Instead, his output over the next year was dominated by still-life painting, a practice that had long paralleled his interest in botany and his appreciation of the work of Cézanne and Matisse. Although his slow start in Vence delayed the first installment to the investors, compositions of fruit, flowers, vessels, and baskets helped him meet his first two years’ quota by July 1926.Discouraged by his setbacks in Vence, Hartley initially asked Stieglitz to provide Griffin with 10 paintings that he had on hand in New York, “20 x 24 in size … not of the very best of course—at least those less abstract better say” (Hartley to Stieglitz, December 31, 1925, and February 2, 1926, cited in Ludington, 174). Griffin, however, was sympathetic and excused the delay. Weber, 52, notes that the syndicate received at least 10 still-lifes from Hartley, five of which were identified in the 2003 Berry-Hill exhibition and publication. When Hartley returned to the landscape for inspiration, he ventured deeper into the Alpes-Maritimes region to Gorges du Loup and Gattière, intending to paint “Italian Alpine profiles.”Quoted in Jeanne Hokin, Pinnacles & Pyramids: The Art of Marsden Hartley (Albuquerque: University of New Mexico Press, 1993), 57. Hartley uses this phrase in a letter to Stieglitz, February 2, 1926, in which he discusses his plans to visit Gorges du Loup. He spent several weeks in these mountainous regions, immersing himself in their dramatic geology and confirming his belief that going straight to nature, rather than relying on the imagination, as Stieglitz had urged, was the path to creative rejuvenation. <em>Gorges du Loup, Provence</em>, which was painted during one of these liberating excursions, represents Hartley’s encounter with the high rocky masses on either side of a deep ravine. The opening to a low tunnel is dwarfed by the dense and monumental cliffs, challenging access to the placid waters of the river beyond. Unlike the low, horizontal “New Mexico recollections” that preoccupied Hartley in the years preceding this trip, representation of <em>Gorges du Loup</em>, Provence demanded a compact, vertical composition. He used this format to compress the landscape, emphasizing the height of plummeting cliffs and packing their ridges with tenacious flora that encroach on the narrow passageway. Darkly contoured, asymmetric rock walls dominate the foreground and function like diagonally skewed theatre curtains. Dramatically, beyond the crevasse, they reveal the green ribbon of the Loup, low mountain peaks, and an untethered cloud in a pale blue sky. The dynamic contrasts between the elements of earth, air, and water confirm Hartley’s return to direct experience of the natural motif. His brushstrokes are firm and instinctive, loaded with pigment that physically and chromatically responds to his perception of the Gorges du Loup. He uses short curved marks to construct the foliage and thick vertical gestures to separate irregular surfaces into pools of earthy color. Long vertical streaks suggest rhythmic movement within the solid mass of cliffs—a technical variant of the CloisonnismDark outlines, and in this case interior lines, recall the jeweler’s technique known as cloisonné, in which wires function as dams to isolate pools of enamel. Considered a post-modern painting technique, Cloisonnism was employed by Van Gogh, Gauguin, and others to flatten perspective and create bold decorative effects. that he had applied to his New Mexico landscapes and would continue to employ in views of Partenkirchen, Germany; Dogtown (Gloucester, Massachusetts); and Vinalhaven, Maine. In spite of their flattening effect, these aggressive gestures emphasize the physical properties of the view, and reject the careful modeling Hartley employed in works such as <a href="http://www.speedmuseum.org/collections/maritime-alps-vence-no-9/"><em>Maritime Alps, Vence, No. 9,</em> 1925–1926</a>, whose block-like patches of color signal the influence of Cézanne. When he wrote to Stieglitz that two weeks at Gorges du Loup were “not enough,”Hartley, Somehow a Past, 136. he admitted to the challenges still before him, but he also revealed renewed conviction in his ability to communicate a deeply personal apprehension of nature. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/field/field--text-with-summary.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('field', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 231) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->block_node_content(Array, Array) (Line: 171) Twig\Template->displayBlock('node_content', Array, Array) (Line: 91) __TwigTemplate_fb45c12c057c90d6dad87acc3f8af627->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 51) __TwigTemplate_d0a4e06ec4cdc862487a9e59e7ee55e6->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view_unformatted', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 110) __TwigTemplate_fc3dc095246a9d6d2c8632ac77f62c14->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 74) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->block_content(Array, Array) (Line: 171) Twig\Template->displayBlock('content', Array, Array) (Line: 62) __TwigTemplate_c81e6485dadaf75052a00079fc772d9e->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/block/block--views-block--articles--main-articles-page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('block', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 117) __TwigTemplate_b3fe52432436677338dad3d61809f538->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/page.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('page', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 86) __TwigTemplate_8fe1b8668882dc7655cca60ecfc7b958->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/layout/html.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('html', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 158) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 159) Drupal\Core\Render\MainContent\HtmlRenderer->renderResponse(Array, Object, Object) (Line: 90) Drupal\Core\EventSubscriber\MainContentViewSubscriber->onViewRenderArray(Object, 'kernel.view', Object) call_user_func(Array, Object, 'kernel.view', Object) (Line: 111) Drupal\Component\EventDispatcher\ContainerAwareEventDispatcher->dispatch(Object, 'kernel.view') (Line: 186) Symfony\Component\HttpKernel\HttpKernel->handleRaw(Object, 1) (Line: 76) Symfony\Component\HttpKernel\HttpKernel->handle(Object, 1, 1) (Line: 58) Drupal\Core\StackMiddleware\Session->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\KernelPreHandle->handle(Object, 1, 1) (Line: 191) Drupal\page_cache\StackMiddleware\PageCache->fetch(Object, 1, 1) (Line: 128) Drupal\page_cache\StackMiddleware\PageCache->lookup(Object, 1, 1) (Line: 82) Drupal\page_cache\StackMiddleware\PageCache->handle(Object, 1, 1) (Line: 270) Drupal\shield\ShieldMiddleware->bypass(Object, 1, 1) (Line: 137) Drupal\shield\ShieldMiddleware->handle(Object, 1, 1) (Line: 48) Drupal\Core\StackMiddleware\ReverseProxyMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\NegotiationMiddleware->handle(Object, 1, 1) (Line: 51) Drupal\Core\StackMiddleware\StackedHttpKernel->handle(Object, 1, 1) (Line: 704) Drupal\Core\DrupalKernel->handle(Object) (Line: 19)
/