Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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) 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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) 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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) 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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) 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts. Although details of his early artistic training are unknown, by 1850 he advertised himself as a teacher of “an improved system of monochromatic painting.”Nancy K. Anderson and Linda S. Ferber, in Albert Bierstadt: Art and Enterprise (New York: Hudson Hills Press, in association with the Brooklyn Museum, 1990), 115; their Chronology section notes the first advertisement of Bierstadt’s services in the New Bedford Standard of May 13, 1850, and cites Richard Schafer Trump, The Life and Works of Albert Bierstadt (dissertation, Ohio State University, 1963), 23, for quoting a broadside of June 6, 1850, promoting his “improved system.” The following year he added instruction in “Painting Colored Crayon Heads and Landscapes from nature, or from copies,” as well as “a new style of sketching from nature which can be acquired in one lesson.”Newport Daily News, June 7, 1851, cited in Anderson and Ferber 1990, 116. During the early 1850s, Bierstadt exhibited his work in Boston and collaborated with the American artist George Harvey on a light show that utilized the latter’s “dissolving views” of landscapes painted on glass.Anderson and Ferber, 116. In 1853 Bierstadt became a naturalized American citizen and returned to Germany to continue his own artistic education. When Bierstadt arrived in Europe he was disappointed to learn of the death of Johann Peter Hasenclever, the noted Düsseldorf genre painter with whom he had planned to study. He remained in that city, however, and although he did not officially enter the Düsseldorf Academy, he progressed quickly under the guidance of American colleagues Worthington Whittredge and Emanuel Leutze, the German landscape painter Andreas Achenbach, and the circle of artists around Carl Friedrich Lessing. The hallmarks of Düsseldorf painting at mid-century were accurate draftsmanship and truthful rendering of natural forms, applied equally to figures and to landscape. In the process of mastering this style, Bierstadt set out in the spring of 1854 to explore the Westphalian countryside and to make careful sketches that could become the sources for paintings. In <em>Landscape on the Rhine</em>, one of the drawings from that first sketching trip, Bierstadt described the yard of a cooperage on the banks of the Rhine. Using only pencil and opaque white wash, he coaxed a landscape from the uniform tan tone of a smooth-surfaced paper. The subject might have attracted Bierstadt for personal reasons: his father had emigrated from Germany as a cooper and continued to practice this trade in the United States. Set in a shallow cove, the scene provides a glimpse of local industry that adds distinctive genre elements to the landscape. While there are no descriptive signs of the workshop or forge, whole barrels are visible at left, and others with sprung rims, broken staves, and missing heads are scattered about the foreground. Bierstadt made numerous costume studies as part of his Düsseldorf training and used this knowledge to distinguish the figures in his compositions. Of the four men depicted here, the two wearing wide-brimmed black hats may have come from a nearby vineyard or granary to negotiate the purchase or repair of the barrels. The old stone structure, which could have served as the cooper’s shop, supplies the drawing with a picturesque focus and randomly separates sunlight from shadow through the boards of its wooden awning. Its humble profile stands in contrast to the sweeping cliffs that prefigure the dramatic settings of Bierstadt’s later work. Ruins, old mills, and barns were familiar motifs in landscape paintings. Fallen into decay, they suggested reunion with nature; when still in use, they depicted aspects of times past, or of rural commerce, which appealed to urban collectors. The drawing is carefully organized on the sheet—which is signed with Bierstadt’s monogram on a barrel at left, and dated—and projects a sense of completion. It may have been exchanged with a colleague or given to a friend or family member as a gift, although the primary purpose of drawings made on sketching trips was to serve as sources in the preparation of larger works. The abrupt definition of the cliffs along the shoreline, the effective elimination of middle distance, and the sketchy rendering of trees and grasses reinforce the fact that Bierstadt’s interest was directed to the foreground motif. Although not identified with a documented work, the vignette of the cooperage might have been included in one of the paintings of the following year that incorporated both genre elements and rustic architecture in broader landscape settings.Among the Düsseldorf subjects that included related architectural elements were Westphalian Landscape (1855, Shelburne Museum, Shelburne, Vermont), A Rustic Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 125), and The Old Mill (1855, private collection; illustrated in Anderson and Ferber 1990, 128). Bierstadt’s method of accumulating numerous detailed sketches remained his modus operandi when he explored the American West. The precision of his Western views was also facilitated by photography, the profession adopted by his brothers Charles and Edward. With the destruction of Bierstadt’s Hudson River home and studio by fire in 1882, many of the drawings that he had made throughout his career were lost. Of those that remained in private hands, <em>Landscape on the Rhine</em> is a revealing document of his Düsseldorf training and his early skill as a draftsman. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. Maureen O’Brien Curator of Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('William Stanley Haseltine first studied painting in Philadelphia with the German expatriate Paul Weber, who encouraged him to continue his training in Düsseldorf.Haseltine attended the University of Pennsylvania for two years, then transferred to Harvard College in 1852. Upon graduation from Harvard, he wrote: “I have always entertained a great longing for any thing connected with the fine arts. I have already painted several original pictures & intend going to Düsseldorf to prosecute the study of art as a profession.” Harvard College, Class Book, 13 July 1854, p. 137, cited by Marc Simpson in Marc Simpson, Andrea Henderson, and Sally Mills, Expressions of Place: The Art of William Stanley Haseltine, San Francisco, The Fine Arts Museums of San Francisco, 1992, p. 154. See also John Wilmerding’s essay in William Stanley Haseltine (1835–1900): Drawings of a Painter. New York: Davis & Langdale Company, Inc., in association with Ben Ali Haggin, Inc., 1983. The city’s fine arts academy was then a dominant European center for the study of landscape and genre painting, and had already attracted the American painters Emanuel Leutze, Worthington Whittredge, and Albert Bierstadt. The popularity of the academy was reinforced by the success in New York of the Düsseldorf Gallery, which fostered the appreciation of a style based on highly proficient drawing and the literal study of natural forms.For studies of American artists in Düsseldorf, see Donelson F. Hoopes, The Düsseldorf Academy and the Americans: An Exhibition of Watercolors and Drawings, Atlanta: High Museum of Art, 1972; Kunstmuseum Düsseldorf, Wolf von Kalnein (introduction), Rolf Andree, and Ute Ricke-Immel, The Hudson and the Rhine; Die Amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, catalogue of an exhibition held at Kunsthalle Bielefeld May 23–June 20, 1976; American Artists in Düsseldorf, 1840–1865, Framingham: Danforth Museum, 1982; and Michael Quick, American Expatriate Painters of the Late Nineteenth Century, Dayton, OH: Dayton Art Institute, 1976. When Haseltine arrived in Düsseldorf in 1855, he did not enroll at the academy but instead sought training in the studio of the city’s leading landscape painter, Andreas AchenbachAlthough “Chronology of William Stanley Haseltine’s Life and Work” in Simpson et al., 1992, p. 156, notes that there are no official records of Haseltine’s presence in Achenbach’s studio, Haseltine’s daughter, Helen Haseltine Plowden, wrote that he at first studied in Düsseldorf with Paul Weber, who had returned to Germany, and then was taken into Achenbach’s studio “where work started in dead earnest” (Helen Haseltine Plowden, William Stanley Haseltine, London: Frederick Muller Ltd., 1947, p. 42)., an artist who would develop a strong following among American collectorsAchenbach is represented by 30 titles in the index to Edward Strahan [Earl Shinn], The Art Treasures of America, Philadelphia: G. Barrie, 1879–1882, a survey of America’s private art collections.. Known for dramatic depictions of nature’s moods, Achenbach traveled widely in Europe and spent two years in Italy before settling in Düsseldorf in 1846. Haseltine often joined his American compatriots on sketching expeditions in Germany and Switzerland during the summer months. Accompanying Whittredge, he first crossed the Alps into northern Italy in September of 1856, then returned a year later, descending south for a long winter season that provided the foundation for his love of the Roman countryside and the spectacular coastline of the Campania region. In May 1858, Haseltine made a sketching trip to Naples and explored the towns of Sorrento, Amalfi, and Capri. Aware that his first European sojourn was coming to an end, he used this trip to carefully record the landscape and its panoramic seaward views. In this drawing from 1858, Haseltine represents a part of the great ravine in which the town of Amalfi is perched. Leaving the central piazza and heading directly west through a gateway, the valley could be entered and explored on foot. By climbing a precipitous and winding path, a sojourner could ascend high above the bay, observing en route the homely and picturesque industries of pasta, soap, and paper manufacture. The American poet Henry Wadsworth Longfellow later described the narrow gorge as “a stairway, not a street / That ascends the deep ravine / Where the torrent leaps between / Rocky walls that almost meet.” Henry Wadsworth Longfellow, “Amalfi,” in The Masque of Pandora, and Other Poems, Boston J. R. Osgood and Co., 1875, p. 111. There, in the Valle dei Mulini, mills had channeled the energy of mountain streams since the 11th century. To capture this view, Haseltine followed the footpath up the flank of the valley past the cascades that fed the mills, stopping at a spot where the ravine narrows and a rivulet is crossed by a stone bridge. At middle distance he recorded a stucco building, illuminated by sunlight, and the rounded roof of barn. Small, flat-roofed structures can be seen above the foliage at left and below a craggy peak. These elements of vernacular architecture suit Haseltine’s conception of seemly, non-invasive industry, while the atmospheric prominence of the high ridge in the distance heightens the drama of the composition. Unlike Bierstadt, who included figures in his rendering of a picturesque cooperage along the Rhine (<a href="http://risdmuseum.org/manual/326_american_drawings_and_watercolors_albert_bierstadts_landscape_on_the_rhine">see <em>Landscape on the Rhine</em></a>), Haseltine refrains from introducing signs of the local peasantry. Haseltine often made his wash drawings on large sheets of tan or blue paper, using their color as a base tone for his representation of the landscape. Here he chose a tan sheet and penciled in a spare preliminary sketch before working up the composition with gray wash and black pen. To this limited palette he then applied discrete applications of wash to fix precise points of local color. The flora at left are distinguished by washes of green: a yellowish tint identifies the abundant bushes of spurge while a darker shade creates relief in the foliage behind them. A complementary wash of pink suggests terracotta roof tiles as well as the shallow flow of water in the stream. Haseltine added this drawing to an inventory of site sketches that eventually provided themes for some of the most significant works in his repertoire. In 1859, after he had returned to the States, he transformed the walls of his New York studio with these drawings and used them as resources for paintings. In December of that year a visitor described Haseltine’s rooms at the Tenth Street Studio Building as “hung with sketches of the magnificent rocks and headlands on the bays of Naples and Salerno, added to which are Campagna and mountain views near Rome, and scenes in Venice, the whole forming a pictorial journey through the rare picturesque regions of Italy.”From “Sketchings. Domestic Art Gossip,” Crayon 6: 10 (December 1859), p. 379, cited in Simpson et al., 1992, p. 160, “Chronology”). The painted scenes of Amalfi, Capri, Naples, and Rome that he constructed in his New York studio in the 1860s relied heavily on these drawings, and laid the foundation for his reputation a leading American painter of Italian views. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ', '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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. Maureen O’Brien Curator, Painting and Sculpture ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898. He grew up in comfortable circumstances in Nutley, New Jersey, and was educated at Lawrenceville School and Yale University. In the early 1920s Marsh worked in New York as a freelance artist for magazines and newspapers, developing an energized drawing style that he used to illustrate city life and its various entertainments. He also took classes at the Art Students League, studying briefly with John Sloan, George Luks, Kenneth Hayes Miller, and George Bridgman, and joined the Whitney Studio Club in 1923. That same year, Marsh married Betty Burroughs, an artist whose father, Bryson Burroughs, was a curator at the Metropolitan Museum of Art.After her divorce from Marsh in 1933, Betty Burroughs married Thomas F. Woodhouse. She later became a museum educator and was on the staff of the RISD Museum from 1951 to 1961. http://risdmuseum.org/manual/241_100_years_of_commitment She discussed Reginald Marsh in an interview with Garnett McCoy for the Archives of American Art in 1977: http://www.aaa.si.edu/collections/interviews/oral-history-interview-betty-bryson-woodhouse-13140 In 1925 Marsh returned to France for the first time since his childhood and spent several months studying Old Master paintings in the Louvre. His love of Rubens, whose great <em>Kermesse</em> he copied in Paris, provided the foundation for a body of work in which women—sunbathing, walking, seated on subways—were represented as modern-day counterparts of Rubens’s full-blown female forms. When he returned to New York, Marsh focused his attention on the theater of contemporary urban life, describing the city’s denizens against the backdrop of its architecture and amusements. He recombined these themes in various media for decades, without ever losing his joy in their accessibility and freshness. A large sheet in RISD’s collection, <em>Two Girls on a Ferry</em>, employs a vibrating calligraphy Marsh invented later in his career to emphasize movement. His curved, radiating pen strokes animate the costumes of the shapely young women, ruffling their skirts and capturing the sensation of the breeze on the Staten Island ferry on its approach from Governors Island. Looking out from the railing, a middle-aged gentleman in a fedora takes in the downtown skyline in a panorama that sweeps across the southern tip of Manhattan, from the Whitehall Building at left to the Art Deco–style Cities Service Building at 70 Pine Street.Marsh’s prints document the rise of lower Manhattan’s skyline, particularly between 1927 and 1932. New construction could be sketched from the point of view of Governors Island or consulted in photographs and postcard views. In Marsh’s etching of 1930, the skyscraper at 70 Pine Street which anchors RISD’s drawing was absent from the skyline, and the tall spireless tower at 20 Exchange Street, second from right, appeared under scaffolding. http://www.metmuseum.org/collection/the-collection-online/search/366826 Marsh’s concurrent passion for trains provided material for an opposing motif to the exuberance of urban life. Beginning in 1928, he made numerous prints and paintings that featured the trains that transported Americans and their goods cross-country, including one that he painted in fresco as a proposal for the Post Office Department murals in Washington, D.CIn 1935, Marsh made a large painting of a locomotive in fresco as a proposal for the Post Office Department commission. http://articles.latimes.com/2013/may/07/entertainment/la-et-cm-huntington-buys-reginald-marsh-painting-20130507. His early interest in painting locomotives is discussed in http://collections.mcny.org/Gallery/24UPN47LTX1 which cites Barbara Haskell’s observation in Swing Time: Reginald Marsh and the Exuberant Chaos of Thirties New York (London: D. Giles Ltd., 2012), that he was inspired by the work of fellow artist Charles Burchfield. See Burchfield’s Gates Down (1920) in the collection of the RISD Museum as an example of that artist’s interest in trains.. The Erie Yards in Jersey City provided a convenient locus for studying these impressive machines, including the steam locomotives that served the passenger and freight routes of the New York Central Railroad. In this profile view, <em>Train,</em> Marsh depicts a workhorse engine resting in the train yard. Its design and wheel configuration identify it as a switcher, a heavy locomotive that was predominantly used to move cars in and out of train yards. The front grill, or pilot, is absent, and there is a protective railing as well as two platforms below the nose for workers to stand on as the train moved through the yardRailway historian Roger P. Hensley, publisher of the website Railroads of Madison County, Indiana, in correspondence with the author, described the purpose of this locomotive and identified it as a USRA 0-8-0 switcher.. Marsh’s portrait of his friend Llewelyn Powys represents a more personal aspect of his life. Through Betty Burroughs, Marsh met Powys (1884–1939), an English writer who lived in New York between 1921 and 1924 before marrying Alyse Gregory, an editor of <em>The Dial</em> magazineRichard Perceval Graves, The Brothers Powys (New York: Charles Scribner’s Sons, 1983), 181, notes that prior to the time of Powys’s marriage to Alyse Gregory in October 1924, he had been romantically involved with Betty Burroughs.. Marsh and Powys developed a warm friendship, and during the summer of 1926 the Marshes rented a house in England not far from “White Nose,” the cottage at Dorset, Dorchester, where Powys and his wife livedMarsh’s ongoing friendship with Powys through the 1930s, and his visits to see him in Austerlitz, New York, and in Clavadel, Davos Platz, Switzerland, are documented in letters in the Reginald Marsh Papers, Archives of American Art.. They continued their friendship when Powys returned to the United States late in 1927 as a visiting critic for the book supplement of the <em>New York Herald Tribune</em>, and vacationed together in Belgium in the summer of 1928. Marsh described Powys as “a strikingly handsome man, a poetic and aristocratic head being crowned with fierce golden curls and a strongly boned forehead … . He was simple and, as he said, ‘a countryman.’ … He gave generously of friendship to me, taught me much and encouraged me in my work as a painter.”Marsh’s moving tribute to Powys is quoted in Malcolm Elwin, The Life of Llewelyn Powys (London: John Lane, 1946), 172. In the 1930s Marsh’s second wife, Felicia, was in turn made welcome in a friendship that endured until Powys’s death from tuberculosis in 1939.See Archives of American Art, Reginald Marsh Papers, Reel 308 for Powys’s letters to Marsh (1927–1939). In 1938 Marsh visited Powys in Arosa, Switzerland, where the writer lived during his final illness. Marsh made several drawings and sketchbook studies of Powys in 1926, followed by two portrait etchingsFor sketches of Powys made while Marsh was in England in 1926, see Archives of American Art, Reginald Marsh Papers, Reel NRM3, Sketchbook #4: fr. 633, 634 (July 8, 1926), 643 (June, 1926), and Sketchbook #5: fr. 677 (August 6, 1926). See also finished drawings of Powys seated in a chair in his library in Dorset in Reginald Marsh Papers Box 5, Folder 18, Nos. 20–21. For Marsh’s etchings, see Norman Sasowsky, The Prints of Reginald Marsh, an Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings and Lithographs, (New York, Clarkson N. Potter, 1976) Sasowsky, 1976, p. 105, no. 42, Llewelyn Powys, 1927 (estimate), 3 1/2 x 2 1/2 in., ill.; and p. 146, no. 98, Llewelyn Powys, October 26, 1930, 5 x 4 in., ill., and also exhibited a painting of Powys at the Whitney Studio Club’s 1928 members’ exhibitionThirteenth Annual Exhibition of Paintings by the Members of the Club, 29 April–26 May, 1928, no. 116, Llewelyn Powys.. The ink wash <em>Portrait of Llewelyn Powys</em> in RISD’s collection is undated, but its pose and costume are similar to those of Powys in a photograph taken by Doris Ulmann in 1928.At least two photographs from the 1928 Ulmann sitting are known. The frontal pose, “Llewelyn Powys in New York, 1928,” is reproduced in Elwin, The Life of Llewelyn Powys, opp. p. 164. A second image, with Powys’s head turned slightly, is very close to Marsh’s wash drawing, but he appears a bit heavier and more rumpled and has a brighter look in his eyes in Marsh’s version. Marsh’s ability to capture his subject was praised by Powys, who described one of the images as “the embodiment of the Powys family [—] the trunk from which we were chopped, the rock from which we were cut.” Alyse Gregory expressed a desire to have Marsh paint Powys again in 1934, writing, “I long to have you paint him—he never since I have known him has looked so striking.”Alyse Gregory wrote to Marsh on April 7[?], 1934, “I long to have you paint him—he never since I have known him has looked so striking.” Archives of American Art, Reginald Marsh Papers, Reel 308, fr. 362. Ironically, the final painted portrait of Powys was to be a large, disturbing canvas made by the German Expressionist painter Ernst Ludwig Kirchner, Powys’s neighbor in Davos. Powys’s genuine empathy for Kirchner did not enhance his opinion of that effort; he described the portrayal to Marsh as a “slipper-slopper studio-prophet” and a “fine idealist without a wrinkle in his forehead.”Powys to Marsh, 1939, Clavadel, Davos Platz, in The Letters of Llewelyn Powys, selected and edited by Louis Wilkinson with an introduction by Alyse Gregory (London: John Lane, 1943), 277–78. “It reaches from ceiling to floor and is admired by lovers of ‘modern art,’ but Alyse and I can’t abide it.” Powys’s friendship with Kirchner is discussed by Jacqueline Peltier in “Llewelyn Powys et Ernst Ludwig Kirchner, ou l’histoire d’un portrait,” which includes a photograph of the now lost portrait. Powys, Swiss Essays (London: John Lane, 1947), includes the essay on Kirchner Powys sent to Marsh in 1938. He shared this opinion with Marsh shortly before his death, along with a sympathetic essay he had written about Kirchner. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Five works on paper in the RISD Museum’s collection follow the arc of Charles Burchfield’s career, introducing and reprising themes that reveal his desire for artistic unity with nature. Burchfield’s development in the early years of the twentieth century merged an appreciation for decorative surfaces, notably those of Asian and Near Eastern art, with an imagination that was fueled by his own his experiences. Raised in Salem, Ohio, by his widowed mother, he had spent his childhood gathering impressions and images from the landscape around him. From 1912 to 1916 Burchfield studied at the Cleveland School of Art, where his youthful admiration for the work of Aubrey Beardsley, Arthur Rackham, and Edmond Dulac led him to consider a career as an illustrator. Upon graduation he won a scholarship to the National Academy of Design, New York, but the few months he spent there in the autumn of 1916 confirmed his aversion to both figure drawing and to city life. Despite an encouraging contact with Mary Mowbray-Clarke, who showed his work at her Sunwise Turn Bookshop, he decided to leave New York before the end of the year. Burchfield described the months that followed his return to Ohio as his “golden year.” Employed by day as an accountant at the W. H. Mullins Company, he communed with nature on evenings and weekends, producing sheets of drawings and watercolors that vibrated with the joy of his homecoming. In later years he would come back to the images of 1917, incorporating them into larger compositions that attempted to recapture the freedom and vision of his youthful discoveries. Some of these early drawings were what he called “idea notes,” including components of plant life or effects of weather that comprised a sign language of nature. In others, such as <em>Violets</em>, a large watercolor of 1917, his conception was fully edited and staged. In the foreground, animated violets chant an overture for a grand performance spring. In a clearing, framed by formidable sentinels, a stand of tree trunks elevates a shimmery pyramidal bower. Burchfield told his dealer, Frank Rehn, that <em>Violets</em> was one of his favorites and asked him to submit it to the Rhode Island School of Design in 1944 in response to the Museum’s request to see “a few of his finest early things” for purchase consideration.RISD Museum director Gordon Washburn expressed interest in the early work when the Museum lent Three Boats in Winter to a Burchfield retrospective exhibition organized by the Albright Art Gallery, Buffalo, in 1944. A former director of the Albright, Washburn recalled Violets from a visit to Burchfield’s studio in Gardenville, New York, and mentioned this when he wrote to Burchfield on May 9, 1944, to ask if he would send a selection of early watercolors for RISD’s consideration. The artist’s dealer, Frank K. M. Rehn, responded on June 6, 1944, commenting that Violets was also one of Burchfield’s favorites (Frank K. M. Rehn Galleries correspondence, Archives of American Art, Smithsonian Institution, http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more#section_1). Burchfield had found Washburn dismissive of American Modernism during his time in Buffalo. In a journal entry dated January 16, 1939, he described Washburn as “one of the younger museum directors who is trained at the Fogg Museum in a sort of cultural vacuum… . His attitude & use of French terms were galling to me.” Describing Washburn’s European bias, he noted (January 21, 1939) that he “would stand in front of one of the most trivial and inane of Matisse’s effort[s], and say with the air of God delivering the commandments from Mount Sinai ‘This is a great picture.’” Charles Ephraim Burchfield, Charles Burchfield’s Journals: The Poetry of Place, edited by J. Benjamin Townsend (Albany: State University of New York Press, 1993), 562. The respite of Burchfield’s golden year was short. Inducted into the army in 1918, he was sent to Camp Jackson, South Carolina, where he was assigned first to field artillery and then to the camouflage section before being dismissed at the war’s end with the rank of sergeant. During the next two years, he turned from animistic nature imagery and began to document the landscape of towns, often stripping them of color and imposing a spare architectural geometry.Michael D. Hall analyzes Burchfield’s distinctive Modernism in “Cones, Cubes, and Brooding Shacks: Charles Burchfield’s House Pictures 1918–1920,” in Charles Burchfield 1920: The Architecture of Painting (New York, D.C. Moore Gallery, 2009); Gates Down is illustrated on page 93. Burchfield included an illustration of Gates Down in his 1928 essay “On the Middle Border,” Creative Arts, 3, September 1928. A snowy Pennsylvania Railroad crossing at New Garden Street in Salem is the setting for <em>Gates Down</em>, a 1920 watercolor whose composition is activated by the racing diagonal of the track and the smoke of an oncoming train. The gate has been lowered by a switchman—a rare Burchfield figure—who is silhouetted in the lantern-like tower. Opposite, the low roofs of a factory are overshadowed by a monolithic industrial block whose chimney spews brown fumes. Dark outlines and broad strokes of opaque pigment present a somber contrast to the mood of Burchfield’s earlier naturalist subjects, but he generates energy in the locomotive’s burning headlamp and in the sparking triangle of the signal lamp. Like all of nature’s humours, snow and ice were not, of themselves, hostile elements to Burchfield. After moving to Buffalo in 1921 to take a job with the H. M. Birge & Sons wallpaper company, he was attracted by the sights of the local waterfront in winter, and soon began to paint the freighters on Lake Erie. Their commerce restricted by the lake’s icy manacles, the passive ships served frequently as models for Burchfield, and were the subjects of several paintings. In 1933 he completed <em>Three Boats in Winter</em>, a composition observed in the Buffalo harbor near the Ohio Street Bridge. It was purchased the following year by the Rhode Island School of Design after being shown at the Museum’s Annual Exhibition of Contemporary Art.Museum of Art, Rhode Island School of Design, Catalogue of the Annual Exhibition of Contemporary American Paintings, October 3–30, 1934, no. 9. Three Boats in Winter (watercolor), lent by the Rehn Gallery. Although Burchfield’s paintings of the twenties and thirties, including the Buffalo sites, were often described by critics as portraits of the “American Scene,” his own stated intentions resisted the limitations of this interpretation. “While I feel strongly the personality of a given scene, its ‘genius loci’ as it were, my chief aim in painting it,” he wrote, “is the expression of a completely personal mood.”Charles Burchfield, Monograph Number 13 (New York: American Artists Group, Inc., 1945), n.p. Foreword by Charles Burchfield. By the late thirties Burchfield identified a “determination to come to grips with nature in a way I have never done before.”Burchfield, Journals, November 29, 1938, 486. He had already begun to reexamine his work from 1917–1918 and felt compelled to recall the intensity of his youthful experiences and to recapture the spontaneity and expressiveness of that period. His watercolors of the next two decades built on the early drawings, both literally and figuratively. In the 1940s he devised a complex methodology that involved attaching additional strips of paper to drawings he had made in 1917 and then expanding the original motifs in order to create larger paintings. He also found new ways to employ old favorite subjects, such as the striped birch trees that he used in two of his earliest wallpaper designs.In 1921, Burchfield created two wallpaper designs in which birch trees were the dominant motif. One of these, The Birches, in the collection of the Burchfield Penney Art Center at SUNY Buffalo State, was based on this watercolor from 1917: https://www.burchfieldpenney.org/collection/object:1975-092-000-the-birches/ The drawing <em>Tree Interior</em>, which features the trunks of striped birches, was inscribed “Study for Summer Afternoon.”The verso of the drawing bears the inscription: “Tree Interior” 1948 / A Study for “Summer Afternoon.” A large 1917–1948 watercolor with that title includes aspects of the drawing’s jagged black halo and energized sky, suggesting nature’s inherent potential for change, while its armature of branches and exploding crown of foliage found their way into later paintings.While not directly quoted in these paintings, Tree Interior represents Burchfield’s process of using drawings to establish motifs and to inject renewed fervor into his later work. Summer Afternoon, 1917–1948; watercolor, 48 x 42 in., Collection Williams College Museum of Art, Williamstown, Massachusetts; Gift of Mrs. Lawrence H. Bloedel http://contentdm.williams.edu/cdm4/item_viewer.php?CISOROOT=/wcma&CISOPTR=36&CISOBOX=1&REC=12 July Sunlight Pouring Down, 1952; watercolor on paper, 35 x 26 in., on permanent loan to the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2013-0704-001-july-sunlight-pouring-down/ Summer Solstice (In Memory of the American Chestnut Tree), 1961–1966; watercolor on paper, 54 x 60 in. Image from the archives of the Burchfield Penney Art Center at SUNY Buffalo State https://www.burchfieldpenney.org/collection/object:v2012-015-001-summer-solstice-in-memroy-of-the-american-chestnut-tree/ <em>Tree Interior</em> may have been made on site during Burchfield’s daylong stretches in the woods and meadows near his Gardenville, New York, home, or drawn later as he recalled “great cumulus clouds piled up into huge towering masses, overhead, blotting out the sun, and casting a deep shadow over the trees and fields.”Burchfield, Journals, July 1, 1948, 518. Burchfield’s reconstructions served as springboards to his next phase of abstract naturalism. When reapplied in maturity, the imagery that he had invented and codified in his youth became an inspired and flexible vocabulary. Of the many themes in nature that Burchfield continued to address, the change of seasons proved among the most fecund to his imagination. The drawing <em>Oncoming Spring</em>, a preliminary sketch for a painting of the same title,Oncoming Spring, 1954; watercolor on paper mounted on board, 29 1/2 x 39 5/8 in.; Burchfield Penney Art Center at SUNY Buffalo State, purchased in part with support from the Western New York Foundation and the Olmsted Family in Memory of Harold L. Olmsted, 1990. https://www.burchfieldpenney.org/collection/object:1990-003-000-oncoming-spring/ is one of a series of works that dramatizes the conflicting, coincidental stages that mark the end of one season and the beginning of the next. With this drawing, made three years before the completed painting, the basic elements of the painting’s structure were set in place. In a barren wooded setting, variations of crescent-shaped forms float among dark slender tree trunks. Identified as conventions in Burchfield’s 1917 sketchbook, the crescents were often used to express feelings or moods.See Charles Burchfield, Sketchbook: Conventions for Abstract Thoughts, 1917, Burchfield Penney Art Center at SUNY Buffalo State. The conventions are widely discussed in the Burchfield literature. In later years the crescent was described by Burchfield (letter to Theodore Braasch, September 13, 1959, courtesy Burchfield Penny Art Center, Buffalo, New York) as “differing in meaning of course according to its position.” Face up, it could be “eerie or menacing—at best a pixie mischievousness”; face down, it could express “astonishment, wariness, foreboding, and also sadness, nostalgia, or worship of God,” and even “heat and its discomfort.” Pockets of wind, sound and movement might also be suggested by variations of this shape. But here they exist as windows in the winter landscape, revealing lightly sketched images of spring growth. Above their outlines a birdlike form ascends as a symbol of the earth’s rebirth in the coming season. <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. 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