Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Childe Hassam, a successful young book and magazine illustrator, made his first trip abroad in 1883, disembarking in Great Britain then making a wide sweep through France, Holland, Switzerland, Italy, and Spain. The sheaf of European subjects he brought back became the basis for an exhibition of his watercolors at Boston’s Williams & Everett Gallery in 1884.Hassam showed 67 watercolors of European subjects in the 1884 exhibition Water Colors by Hassam, held at Williams & Everett Gallery, Boston. The complete checklist of titles is included in the appendix “Exhibitions in Hassam’s Lifetime” in H. Barbara Weinberg’s Childe Hassam, American Impressionist (New York, New Haven, and London: Metropolitan Museum of Art and Yale University Press, 2004). That same year, Hassam married Kathleen Maude Doan and moved to an apartment building on Columbus Avenue in the recently developed Back Bay area of Boston.Hassam’s discovery of urban Boston is discussed by Erica E. Hirshler in “Childe Hassam: At Dusk, Boston Common at Twilight” (Boston: MFA Publications, 2015). Hassam’s Boston paintings are also discussed by Stephanie L. Herdrich, “Hassam in Boston, 1859–1886,” in Weinberg, 2004, 29–51; and by Jennifer A. Martin Bienenstock, “Childe Hassam’s Early Boston Cityscapes,” Arts Magazine 55 (Nov. 1980), 168–171. His interest in his new surroundings was revealed in 1885, when he submitted watercolors with titles such as <em>In the Public Garden</em> and <em>Springtime in the City</em> to exhibitions in Boston. In the Public Garden was exhibited at the Boston Art Club, 32nd Exhibition, Water Colors, Black and White Drawings, and Sculpture, April 11–May 2, 1885, no. 129. Springtime in the City was shown at the Boston Water-Color Society, 1st Exhibition, from December 1, 1885, no. 1. Neither watercolor has been indisputably identified with a known work, leaving open the possibility that one of these titles might refer to RISD’s painting. Keen to establish his American reputation as a painter, Hassam selected glimpses of modern life to attract the attention of critics, not only through location but through refined technique and finish.See, for example, the large watercolor on paper The Public Garden (Boston Common), 1885, Slavin Collection, fig. 41 in Weinberg, 2004, 47. On page 16 of Childe Hassam: American Impressionist (Munich and New York: Prestel-Verlag, 1994), Ulrich W. Hiesinger notes the improvement of Hassam’s figural style after 1883, when he took life painting classes at the Boston Art Club. One of his instructors there, the Italian painter Tommaso Juglaris, had trained in Paris with Jean-Leon Gerome and Alexandre Cabanel. As an illustrator, Hassam had become an astute observer of the world around him, equally capable of capturing effects of nature as representing women in fashionable attire. Both these elements are included in <em>Woman and Mastiff in the Boston Public Garden</em>, a watercolor whose urban immediacy is enhanced by an audacious canine presence. The young woman has a firm hold on the collar of her trusty companion as they pause and gaze upward, as if fixed on a bird beyond the range of the composition. While the model’s pose might have originated in the studio, the inclusion of the dog appears fresh and original, suggesting the inspiration of Velasquez, whose paintings of mastiffs Hassam could have seen at the Prado.Velasquez’s importance to 19th-century European and American artists is widely acknowledged. Las Meniñas (1656), in which a mastiff is featured, would have been a highlight of Hassam’s 1883 visit to the Prado. He would also have seen a painting of a dwarf with a mastiff that was then considered to be a work by Velazquez, and was copied by numerous artists, including John Singer Sargent. During the winter Hassam often transcribed nature from his window or from inside a carriage, but in spring and summer he could comfortably work outdoors, openly observing city life and abandoning a palette of grays and russets for the close hue contrasts of blues and greens.Hassam described sketching his early street scenes from his window or from inside a cab in an interview with A. E. Ives, “Talks with Artists: Mr. Childe Hassam on Painting Street Scenes,” Art Amateur 27 (Oct. 1892), 116–17. The accuracy of the park’s topography, the hazy foliage below the rooftops on Beacon Hill, and the activity of the gardener who transplants a flowerbed attest to Hassam’s direct observation of this setting. The strolling female figure was an important trope for painters of modern life, both in Paris and in Boston, and appealed to collectors;By the late 1870s, this subject was already a particular preference of American collectors of paintings by Giuseppe De Nittis, Jean Beraud, Giovanni Boldini, and Jean-Francois Raffaelli. Hassam shared that interest and emphasized the respectability of his city’s parks. In 1885 he made a series of illustrations for <em>A New Departure for Girls</em>, a book by the popular author Margaret Sidney.Margaret Sidney (Mrs. Harriet Mulford Stone Lothrop), A New Departure for Girls (Boston: D. Lothrop and Co., 1886). In this inspirational novel, the protagonist sets out to seek work and finds herself on a path that curves around the lagoon in the Public Garden. (Fig. 1) “A Garden in the city’s midst!” she exclaims, describing it as a place more energizing than rural nature—still and peaceful but “responding to healthy longings for activity.”Sidney, 1886, 47–48. As in RISD’s watercolor, this view shows the garden’s suspension bridge in the background, but the stroller’s excursion takes place on the opposite side of the lagoon, with the clock tower of the old Providence-Boston train station prominent against the sky. A skilled “black-and-white man,” Hassam most likely made this version as a monochromatic painting that in turn would have been cut onto a wooden block by professional line engravers. Illustrators who provided pen-and-ink drawings and monochromatic paintings to publishers were called “black-and-white men.” Their images were then cut into hardwood printing blocks by expert line men who often added their names to the artist’s signature. John Schoelch and George L. Cowee engraved the blocks for A New Departure for Girls. Hassam’s ability to interpret the atmospheric effects of nature is perhaps most evident in the many paintings he made of the rocky coves of the Isles of Shoals, located off the coast of New Hampshire’s border with Maine. Through his friendship with the poet Celia Thaxter, Hassam became a frequent summer visitor to the island of Appledore, where Thaxter’s home served as a gathering place for artists.Hassam’s 1884 drawing of figures on a sandy beach was published as a woodcut illustration for Thaxter’s 1886 collection of poems, Idyls and Pastorals. Although the date of his first visit to Appledore is not certain, his friendship with Thaxter began in the early 1880s. See Curry, 1990, 33 and 195, n. 62. Around 1888 Hassam built a studio on Appledore, and in the ensuing summers applied his brush to recreating impressions of the flowers that filled Thaxter’s gardens and home.David Park Curry thoughtfully examines Hassam’s seascapes in the chapter “The Rocks of Appledore,” in Curry, 1990, 115–89. He dates the construction of Hassam’s studio to ca. 1888, relating it to the flurry of construction undertaken by Thaxter’s family, the Laightons, who were owners of the Appledore House hotel (Curry, 1990, 38). After a period of absence in the late 1890s, Hassam returned to Appledore regularly until around 1916. His noteworthy collaboration with Thaxter, an illustrated book entitled <em>An Island Garden</em>, appeared in 1894, the year of the writer’s death. The heightened optical perception and skill apparent in his watercolors for the book revealed an intense and personal awareness of nature that flourished in this environment. When he returned to Appledore in the late 1890s, he brought his maturity and concentration to a study of the island’s more abstract geological beauty, and initiated a series of paintings of its coastal ledges and inlets. Sketching on site, Hassam drew <em>Diamond Cove, Appledore</em> on July 23, 1907, from a spot on the southwest side of the island where he also painted in oil.Curry specifies the location of Diamond Cove (1990, 162) and illustrates the RISD drawing (pl. 78). He made the sketch in black pencil and colored chalks on the inside of a stiff paper folder bearing the monogram and address of Augustus H. Tennis of New York City.The monogram appears as “AHT” above “Augustus H. Tennis / 47 East Nineteenth Street / New York.” Tennis was an agent for the Howe Machine Company, and the folder may have housed pages of a trade catalogue. It originally bore a sticker for a card and millboard manufacturer: E. H. & A. C. Friedrichs Co. 169 W. 57th Street N.Y. The impression of the monogram is visible in the cliffs at the left of the drawing. The vertical crease of the booklet cover, which is pricked where it had been sewn, is also evident. Hassam trimmed the left edge of the opened cover, so the crease does not fall at the center of the composition. An oil painting of this view, entitled <em>Isles of Shoals</em>, was also completed in 1907.See Curry, pl. 79, Isles of Shoals, 1907, oil on canvas, 26 x 31 in., Portland Art Museum, Oregon Art Institute. A related painting, dated the following year, is reproduced in Curry, pl. 80, Diamond Cove, Isles of Shoals, 1908, oil on panel, 25 x 30 in., Gallery of Art, Washington University, St. Louis. In graphite and black chalk, Hassam mapped out the drawing’s composition, devising a reverse S-curve to lead the eye from the transparent waters of the cove to the rugged contours of the cliffs. He sketched the cliff walls and recesses with a close up-and-down stroke, connecting them with a line that concludes in an anchoring scribble at lower left. The rocky mass ascends to the top of the sheet where it is intersected by a sliver of the mainland, just visible on horizon. Allowing the buff color of the paper to suggest the earthy tints of the rocks, Hassam applied a palette of blues and yellow-greens to represent the lively movement of light on the water and the growth of algae on the cliffs. He used white chalk to heighten the reflected brilliance of their rocky surfaces and to pick out stones in the shallow water near the shore. A comparison of <em>Diamond Cove, Appledore</em>, with the related oil painting of this site reveals Hassam’s full grasp of his subject in its preliminary stages. The drawing contains the complete armature for the larger composition, from the slender ribbon of sky to the foreground’s rocky perch. On Appledore Hassam drew from life, recreating—even in a quick sketch—the visual experiences that were among the richest and most meaningful of his career. <em>Maureen O’Brien Curator of 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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
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: 129) __TwigTemplate_c1babb60e112ad993125dc5af5a5b779->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/views/views-view--site-search--page-1.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('views_view__site_search__page_1', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array) (Line: 458) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array, ) (Line: 238) Drupal\Core\Render\MainContent\HtmlRenderer->Drupal\Core\Render\MainContent\{closure}() (Line: 592) Drupal\Core\Render\Renderer->executeInRenderContext(Object, Object) (Line: 239) Drupal\Core\Render\MainContent\HtmlRenderer->prepare(Array, Object, Object) (Line: 128) 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)
showing 23 search result out of 31
/