Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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) 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Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/custom/risdmuseum/templates/content/node--teaser.html.twig', Array) (Line: 372) Drupal\Core\Theme\ThemeManager->render('node', Array) (Line: 445) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 60) __TwigTemplate_b5820ae2fc9ac809d8bb920432eaa798->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) Twig\Template->render(Array, Array) (Line: 40) Twig\TemplateWrapper->render(Array) (Line: 53) twig_render_template('themes/contrib/classy/templates/views/views-view-unformatted.html.twig', Array) (Line: 372) 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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, 'In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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) 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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, 'In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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, 'In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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, 'In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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, 'In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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, 'In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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, 'In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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) 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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, 'In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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, 'In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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, 'In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('In the January 1920 <em>Bulletin of the Rhode Island School of Design,</em> RISD Museum director L. Earle Rowe drew attention to the recent acquisition of a colonial American portrait by the British-trained painter L. Earle Rowe, “Portrait of Theodore Atkinson, Jr. by Joseph Blackburn.” Bulletin of the Rhode Island School of Design, January 1920, VIII, 2–4. Ill. p. 1.. The elegant likeness of young Theodore Atkinson, Jr. (fig. 1), was sold to the museum by a descendant of Atkinson’s mother, Hannah, who with her husband, Theodore Sr., was painted by Blackburn in 1760 (figs. 2 and 3). The parents’ selection of the eminent Blackburn suited their station in life: Hannah was the sister of Benning Wentworth, governor of the province of New Hampshire from 1741 until 1767. Theodore Atkinson, Sr., served as president of the Council of New Hampshire, secretary and chief justice of the colony, and delegate to the Albany Congress. In the 1750s, Blackburn had brought English Rococo style to the sober tradition of American portraiture, and his emphasis on depicting luxurious textiles reinforced his popularity with patrons in Bermuda, Newport, Boston, and Portland, New Hampshire, where the Atkinson family flourished. In contrast to their refined and sober depictions, their son’s livelier image seemed to celebrate the energy and promise of the next generation. Vibrantly colored and meticulously drawn, it represented the twenty-one-year-old Harvard College graduate as if poised to assume his place in the world. The portrait became known as one of Blackburn’s most distinguished works and in 1911 was among a select group of paintings chosen to represent the artist in the Metropolitan Museum of Art’s New York, the Metropolitan Museum of Art, Catalogue of an Exhibition of Colonial Portraits: November 6 To December 31, 1911 (1911), no. 2, Theodore Atkinson, Jr., by Joseph B. Blackburn. In 1762, young Atkinson married his pretty young cousin, Frances Deering Wentworth, and subsequently commissioned John Singleton Copley to paint her portrait (Fig. 4). The newlyweds settled in Portsmouth, where Atkinson drew income from land grants and followed a preordained career path in which he served as secretary of the province of New Hampshire, member of His Majesty’s council, and collector of customs. His youthful momentum was tragically cut short in 1769 when he died of consumption at the age of thirty-two. After a notoriously short period of mourning, Frances married John Wentworth, a cousin with strong Tory sympathies, and fled with him to England before the outbreak of the Revolutionary War. By the early twentieth century, the four Atkinson portraits had been separated from one another. Around 1918–1919, the portraits of the colonel and his wife found homes in museums in Worcester, Massachusetts, and Cleveland, Ohio, and Theodore Jr.’s came to Rhode Island. The image of Frances Deering Atkinson had left the fold earlier, and in 1876 entered the New York Public Library by way of the James Lenox collection. (Sold by the library in 2005, her portrait now resides at the Crystal Bridges Museum in Bentonville, Arkansas.) When the younger couple’s likenesses were reunited at the 1911 exhibition at the Metropolitan Museum of Art, no one seemed to have remarked that the strong color and crisp draftsmanship that characterized the wife’s portrait by Copley were also evident in Theodore’s, or noticed their shared distinctive contrast to the muted tones and simplified construction of the other Blackburn portraits nearby. In New York, the <em>Portrait of Theodore Atkinson, Jr.,</em> continued to signal the older artist’s best and most accomplished work, a position that was reinforced when it was featured as the frontispiece of Lawrence Park’s 1923 monograph <em>Joseph Blackburn: A Colonial Portrait Painter</em>. Art historians are trained to determine the authenticity of works of art by studying their style, construction, and physical appearances, and by documenting their living history and chain of ownership. There was no doubt when the portrait of Theodore Atkinson, Jr., was acquired by RISD that it had descended in an unbroken family succession along with Blackburn’s signed portraits of his parents. Reputable scholars had published it as Blackburn’s work, and although there was no evidence of a signature, this was not uncommon in colonial portraiture. And yet, Earle Rowe was careful to note that the unknowns associated with relatively recent colonial art history were not unlike the challenges faced by Renaissance scholars. He mentioned a lack of documentary evidence about the “shadowy personalities and period of activity” of American artists, admitting that at present “the greatest mystery and fascination surrounds Blackburn, whose work had such a great influence on Copley,” and whose paintings had frequently been ascribed to the younger artist. In this case, Rowe had good reason to be cautious, as the long existence of the younger Atkinson portrait among the Blackburn portraits may have led to attribution by association. Theodore Jr.’s premature death, his wife’s remarriage, and the earlier dispersion of her portrait may have obscured obvious clues to the artist’s identity, for in fact, the 1757–1758 commission for his portrait was executed by Blackburn’s brilliant young follower from Boston: the twenty-year-old John Singleton Copley. The confusion over authorship endured until 1943, when in conjunction with the exhibition <em>New England Painting, 1700</em>–<em>1775</em>, held at the Worcester Art Museum, the American art historian and dealer William Sawitzky argued that the “sculptural form, solidity, linear precision and marmoreal flesh tones are closer to Copley than to Blackburn’s weaker formal sense and greater reliance on chromatic and tonal quality, even allowing for the influence that the precocious Copley exercised on his older English-trained colleague.”“News and Comments,” Magazine of Art 36 (Mar. 1943), p. 115. According to the March 1943 “News and Comments” column of <em>Magazine of Art</em>, Anne Allison, Charles K. Bolton, Louisa Dresser, Henry Wilder Foote, John Hill Morgan, Mrs. Haven Parker, and other experts in attendance agreed, and the portrait was assigned to Copley. Although the circumstances of Copley’s introduction to the Atkinsons are not known, they may have seen his portraits of the Reverend Arthur Browne’s family in Portsmouth, or become aware of the portraits Copley had painted of prominent Bostonians in poses identical to the one later chosen for their son.Janet L. Comey in Carrie Rebora and Paul Staiti, et al., John Singleton Copley in America (New York: Metropolitan Museum of Art, distributed by Harry N. Abrams, 1995), pp. 178–81, comprehensively analyzed Atkinson’s portrait and identified the similarly posed portraits of Joshua Winslow, 1755 (Santa Barbara Museum of Art) and William Brattle, 1756 (Harvard University Art Museums). She also noted the Atkinsons’ connections to the family of Reverend Arthur Browne of Queen’s Chapel, Copley’s earlier patrons in Portsmouth. Although barely twenty when he painted young Atkinson, Copley demonstrated immense skills in drawing and color, and astutely mined mezzotint portraits of English aristocrats for aspects of pose, setting, and costume.See Trevor Fairbrother, “John Singleton Copley’s Use of British Mezzotints for His American Portraits: A Reappraisal Prompted by New Discoveries,” Arts 55 (Mar. 1981), pp. 122–30. He had learned the techniques of painting by studying the works of other artists who practiced in Boston, including its leading portraitist, John Smibert, but his most dramatic advances took place around 1755 with the arrival in Boston of the English painter Blackburn. By 1758 he had perfected the most distinctive aspects of Blackburn’s manner, including the depiction of fine clothing and mastery of narrative-enhancing poses. Applying these skills to Atkinson’s portrait, he seamlessly incorporated the scion’s aristocratic appearance into the fiction of a young English lord striding forward to survey his country estate. Atkinson’s slender figure virtually inhabited the aggrandizing <em>contrapposto</em> stance with the grace of a dancer. His costume was likely virtual as well, as “invented dress” based on a variety of continental prototypes was common for both male and female portraits in the eighteenth century.Copley’s depiction of both male and female costume is discussed in Aileen Ribeiro‘s “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley,” in Rebora and Staiti, et al., pp. 103–15. Copley chose to dress Atkinson in a muted salmon coat with deep boot cuffs and matching tight breeches, lavishing attention on his padded silk waistcoat. In a device lifted from contemporary British portraiture, Copley tucked Atkinson’s left hand into his trouser pocket, effectively emphasizing the vest’s silver embroidery and flaunting both its considerable expense and his own genius at rendering sumptuous textiles. Absent from this staging are the classical ruins or attributes of learning so often present in Grand Tour portraits of young British aristocrats. Atkinson’s landscape is pristine and has yet to be imbued with his accomplishments. Instead, evident and intertwined in the Copley portrait of Atkinson are the rising careers of two promising young American men. The combined effects of likeness, costume, and verdant acreage were enough to signal Atkinson’s distinguished pedigree and brilliant future. At the same time, they trumpeted Copley’s own precocious arrival, and his ability to convey personality and social status with skills that surpassed those of any other painter in the colonies, including the much-admired Joseph Blackburn, who unintentionally in the twentieth century wore the laurels of his youthful follower’s acclaim. <strong>Maureen C. O’Brien</strong> <strong>Curator of Painting and Sculpture</strong> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #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('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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, 'Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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, 'Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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, 'Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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, 'Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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, 'Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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, 'Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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, 'Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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, 'Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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\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, 'Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. See https://www.drupal.org/node/2966725', 'exception', 'Drupal\Core\Render\Element\RenderCallbackInterface') (Line: 797) Drupal\Core\Render\Renderer->doCallback('#pre_render', Array, Array) (Line: 386) Drupal\Core\Render\Renderer->doRender(Array, ) (Line: 204) Drupal\Core\Render\Renderer->render(Array) (Line: 474) Drupal\Core\Template\TwigExtension->escapeFilter(Object, Array, 'html', NULL, 1) (Line: 106) __TwigTemplate_4039b6d648e4a30fc59604b38849a688->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 46) __TwigTemplate_d1494d795b4bd5366283e85f3e7729dc->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array, Array) (Line: 43) __TwigTemplate_253b62141ad73ee07345b0067cf59829->doDisplay(Array, Array) (Line: 394) Twig\Template->displayWithErrorHandling(Array, Array) (Line: 367) Twig\Template->display(Array) (Line: 379) 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, 'Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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, 'Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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, 'Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <em>Maureen O’Brien Curator of Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('Eastman Johnson was raised in Maine in a family of eight children, and as a young teenager was employed as a dry goods clerk. When he was about 15, he traveled to Boston and worked in the lithography shop of J. H. Bufford, where he was exposed to techniques that improved his boyhood aptitude for drawing. When Johnson returned to Maine a few years later, he was proficient at making portraits from life in pencil, crayon, charcoal, and chalk.Johnson’s earliest known portraits are charcoal and chalk drawings, Head of a Woman and Head of a Man, dated July 1844, in the collection of the Brooklyn Museum of Art, and illustrated in Patricia Hills, Eastman Johnson, Whitney Museum of American Art, 1972, p. 6. With the intention of assembling a portfolio of portraits of eminent Americans, Johnson moved to Washington, D.C., around 1845. There he set up a studio in a Senate committee room, where he depicted such notable citizens as John Quincy Adams, Dolley Madison, and Daniel Webster. When Johnson returned to Boston in 1846, he had added pastels to his technical repertoire and attracted new sitters among members of the intellectual elite, but his career advancement was stalled by limited opportunities to study painting in Boston. In 1849 he and his friend George H. Hall departed to seek instruction in Düsseldorf, where Johnson studied anatomical drawing and portrait painting in oils. By 1851, he was active in the atelier of Emanuel Leutze, where he advanced his skills at narrative painting while working on a replica of that artist’s <em><a href="http://www.metmuseum.org/collection/the-collection-online/search/11417">Washington Crossing the Delaware</a></em>.This painting, completed in 1851, is in the collection of Metropolitan Museum of Art, New York. http://www.metmuseum.org/collection/the-collection-online/search/11417 As the original version had been destroyed a studio fire the previous year, this second large version of this painting was then underway. Johnson worked with Leutze on a smaller replica, oil on canvas, 40 ½ x 68 in., now part of the Manoogian Collection.He remained abroad for five more years, settling next in The Hague and developing a deep admiration for Rembrandt. His final instructional stage before returning to the United States in 1856 was in the Paris studio of Thomas Couture.Couture promoted painterly technique that preserved the liveliness of the original sketch. Edouard Manet studied with Couture, as did the Boston painter William Morris Hunt. Fortified by Düsseldorf’s narrative tradition, by study of the great collections of Europe, and by exposure to the techniques of one of the most advanced painting studios in Paris, Johnson established himself as a leading American painter. In the late 1850s he set up a studio in New York and was elected to the National Academy of Design. Over the next two decades his career flourished, distinguished by themes ranging from <em>Negro Life at the South In particular, see Johnson’s Negro Life at the South (1859, New-York Historical Society). Originally exhibited at the National Academy of Design in New York under this title, the painting was later known as Old Kentucky Home, after Stephen Foster’s popular song.</em> to studies of maple-sugar camps in MaineJohnson returned to the maple-sugar camps in Fryeburg, Maine, in the spring months of the early 1860s. The RISD Museum’s Sugaring Off, ca. 1861–1866 (45.050), is a large unfinished version of activities at a maple-sugar camp. See Patricia C. F. Mandel’s discussion of this painting in RISD Museum’s Selection VII: American Paintings from the Museum’s Collection, 1800-1930, 1977, 158–63; and in Brian T. Allen, Sugaring Off: The Maple Sugar Paintings of Eastman Johnson, Sterling and Francine Clark Art Museum, 2004. and cranberry harvest scenes in Massachusetts. In 1870, following the birth of his only child, Ethel, Johnson’s family began to vacation on the island of Nantucket. Here and in Kennebunkport, Maine, where his sister’s family summered, he was provided with ready models for themes of childhood.This includes paintings such as Bo-Peep (The Peep), 1872, Amon Carter Museum, Fort Worth. https://www.google.com/culturalinstitute/u/0/asset-viewer/bo-peep/AwEeJtUNL6Bd1w?hl=en. A gathering of children on the beams of a hayloft is depicted in Barn Swallows, 1878, Philadelphia Museum of Art, one of several works he painted at this time that show children playing in a hayloft. http://www.philamuseum.org/collections/permanent/54178.html In <em>Child in Bed</em>, Johnson’s reputation as the “American Rembrandt” may be witnessed in his use of chiaroscuro, the masterful rendering of the face, and the softening of details of the figure and setting. Concentrating on the child’s head, he sculpts the eyes and chin with deep shadows and relies on the brightness of the paper to emphasize the nose and brow. The effect of lamplight is suggested by the color of the paper as revealed through black veils of charcoal. By altering the pressure and direction of his medium, scratching through the pigment, and working the texture of the sheet, he coaxes surfaces as varied as cotton bedding and solid wooden furniture. The bed’s simple footboard and the ladder-back chair suggest the interior of a country house, such as those occupied by the Johnson family in either Nantucket or Kennebunkport. With the exception of the basket of clothes on the chair, no attempt is made to introduce picturesque detail or urge a sentimental response. For an artist whose narrative paintings of children had inspired great public and critical enthusiasm, <em>Child in Bed</em>is an intimate and contemplative digression that affirms Johnson’s keen eye for domestic realism. Landscape and Leisure: 19th-Century American Drawings from the Collection is on view at the RISD Museum from March 13 – July 19, 2015. <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('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->getLinkInstances('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 116) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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Drupal\footnotes\Plugin\Filter\FootnotesFilter->replaceCallback(Array) preg_replace_callback('|]*)>(.*?)|s', Array, '<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ') (Line: 123) Drupal\footnotes\Plugin\Filter\FootnotesFilter->process('<em>Plowing on Sunday</em>, from about 1934The drawing is undated, but the image appeared on the cover of the first edition of Sterling North’s novel Plowing on Sunday (New York: Macmillan, 1934)., was described as Grant Wood’s “finest drawing to date” when it was offered to the RISD Museum for consideration in 1937Letter from Maynard Walker, Walker Galleries, New York, to Constance M. Place, Museum of Art, RISD, February 25, 1937. The drawing was purchased by the Museum president, Mrs. Murray Danforth, for $750, a sum that reflected the limited number and availability of Wood’s works at this time. Mrs. Danforth officially made the drawing a gift to the Museum in January 1938.. The squared-off close-up of a farmer drinking from an earthenware jug was purchased by RISD’s president, Helen M. Danforth, who gave it to the collection the following year, around the time Wood visited Providence. Speaking to a capacity crowd at RISD’s Memorial Hall on a January evening, Wood stressed the importance of regional art schools and expressed his belief that small groups were now merging to make a more democratic national artWood’s lecture, which was introduced by painter John Frazier to a “large audience of artists, art students, and art lovers,” was reported in the Providence Journal article “American Artist Speaks of Work: Grant Wood, Midwestern Painter, Addresses Group at Design School,” January 22, 1938. In a letter to RISD president Mrs. Murray Danforth, former interim director Miriam Banks reported: “I have never seen Memorial Hall crowded to such capacity before on any like occasion. Every available seat on the floor was taken and the gallery filled also” (RISD Archives, Directors’ Correspondence files).. Although a leading painter of the American scene, Wood was careful to distinguish between art that advocated “a concentration on local peculiarities” and one that acknowledged important differences between the various regions of AmericaIn 1937, Wood commented on American literary regionalism, stating that “it has been a revolt against cultural nationalism—that is the tendency of artists to ignore or deny the fact that there are important differences, psychologically and otherwise, between the various regions of America. But this does not mean that Regionalism, in turn, advocates a concentration on local peculiarities; such an approach results in anecdotalism and local color” (handwritten commentary on a typed proposal by “the members of English 293, October, 1937,” Grant Wood Scrapbook 02, Grant Wood 1935–1939; University of Iowa Libraries, Figge Art Museum Grant Wood Digital Collection).. He de-emphasized the term “Regionalism” in his RISD talk, insisting it was “not geographic accent but sincere emotion and vitality that distinguish fine painting.”From The Providence Journal, January 22, 1938: “The movement, exemplified by such men as Charles Burchfield, John Steuart Curry, Reginald Marsh and Thomas Benton, who were through their individual techniques each expressing his particular environment was given the name Regionalism. Mr. Wood feels that since it is not geographic accent but sincere emotion and vitality which distinguish fine painting, the term Regionalism is unfortunate.” By 1938, Wood was widely recognized for the narrative appeal of paintings such as <a href="http://www.artic.edu/aic/collections/artwork/6565"><em>American Gothic</em></a>, his apotropaic depiction of a father and daughter in front of their Iowa farmhouse. But Wood had long explored more abstract formal solutions in his pursuit of an original style that embraced native subject matter. In <em>Plowing on Sunday</em>, he elevated the figure in importance but diminished individuality in favor of a simplified composition that embedded universal qualities in an American motif. Later, in his 1936 painting <a href="https://reynoldahouse.emuseum.com/objects/12/spring-turning"><em>Spring Turning</em></a>, he reduced the farmer and plow to mere notations, stitching them to the edge of the green and brown quilt of a sculpted Midwestern landscape. Commissioned as the cover design for Sterling North’s eponymous 1934 novel, <em>Plowing on Sunday</em> depicted Stud Brailsford, “a strong man whose wishes and fancies and material ambitions are real and on a human scale.”K. W. (Kenneth White?), review of Sterling North, Plowing on Sunday, in The Saturday Review of Literature, December 15, 1934, 374. North had described Brailsford as a man with a leonine head and mass of graying curls, but the light wavy hair, high cheekbones, and square jaw of Wood’s plowman read as a stylized adaptation of <a href="https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657">the artist’s own features</a>.Wood appears in his preferred attire in a photograph with fellow artist John Steuart Curry, ca. 1932. (Accessible at https://www.aaa.si.edu/collections/items/detail/john-steuart-curry-and-grant-wood-8657.) It is related to <a href="http://www.crma.org/Content/Collection/Grant-Wood.aspx">a self-portrait Wood drew in 1932</a>, in which he appeared next to a windmill, wearing the bib overalls he favored.Wood wears a light-colored shirt and bib overalls in his 1932 Self-Portrait (charcoal and pastel on paper; 14 1/2 x 12 in.; Cedar Rapids Art Museum, Cedar Rapids, Iowa), accessible at http://www.crma.org/Content/Collection/Grant-Wood.aspx. This drawing appears to be the study for a painted Self Portrait, 1932–1941 (oil on Masonite panel, 14 3/4 x 12 3/8 in., Figge Art Museum, Davenport, Iowa), in which he appears in a dark shirt. (Accessible at http://figgeartmuseum.org/getattachment/e7bb49f1-d08c-45d2-882e-575d14f729a4/Self-Portrait-65-0001.aspx?maxsidesize=300.) For both drawings he used brown paper as the support, utilizing its color to achieve an overall earth-tone that unified the composition and reinforced the connection between the figure and the land. In <em>Plowing on Sunday</em>, he restricted his media to black conté crayon, ink, and gouache, which he effectively mixed to suggest indigo. Fine webs of diagonal cross-hatching suggest weight, density, and light. Wood varies these patterns to brighten the horizon and to model the plowman’s arms and face. Elsewhere, by deftly shifting his additive technique to imperceptible directional marks, he coaxes an appearance of “tooth” from the smooth paper to create a softer, fabric-like effect for the shirt and denim overalls. In the upper sky, Wood maximizes the coverage of his medium to generate a darkened sky and to force the sharp outlines of the head and water jug into relief. Rendered in a technique that recalls Georges Seurat’s landscape and figural compositions, the plowman emerges as a stoic, sculptural form in an artistic genealogy that ranges from Giotto’s solid peasants to the working men of WPA friezes. Brady M. Roberts notes parallels between Wood’s techniques and those of Seurat in the essay “The European Roots of Regionalism” in Grant Wood: An American Master Revealed (Portland, Oregon: Pomegranate, 1995), 2. In note 9 on page 227 of When Tillage Begins, Other Arts Follow: Grant Wood and Christian Petersen Murals (Ames, Iowa: University Museums, Iowa State University, 2006), Lea Rosson DeLong cites a letter from Wood’s student Leata Rowan, who wrote that Giotto was one of the artists whom Wood taught in his classes on mural painting at the University of Iowa (January 12, 1934, Papers of Edward Rowan, Archives of American Art, reel D 141, fr. 89-01). Paul Signac quoted Edgar Degas’s comment to Seurat upon viewing La Grande Jatte: “You have been in Florence, you have. You have seen the Giottos” (cited by Robert L. Herbert, Georges Seurat, 1859–1891, 174 [New York: Metropolitan Museum of Art and Abrams, 1991]). This effect reinforces the plowman’s connection to his environment and confers a sense of action frozen in time. Wood’s use of brown wrapping paper for both finished drawings and mural preparation was intentional, and he advised his students to use this inexpensive material to encourage experimentation. In 1934 he developed <a href="http://archive.inside.iastate.edu/2004/0116/wood.shtml">a suite of illustrations on brown paper</a> for a limited edition of Sinclair Lewis’s novel <em>Main Street</em>, and showed slides of those drawings at the RISD lecture.The Providence Journal, op. cit., reported that Wood showed slides of his works, including the Main Street illustrations, following the RISD lecture. That commission is Lea Rosson Delong’s subject in Grant Wood’s Main Street: Art, Literature, and the American Midwest (Ames, Iowa: University Museums, Iowa State University, 2004). Like the plowman’s, the heads and upper torsos of Lewis’s characters nearly fill their frames, and their hands and arms indicate representative gestures. While their expressions reveal distinct personalities, the plowman, in contrast, has veiled eyes and no psychologically distinguishing characteristics other than the strong contours of the face and head. By minimizing detail, as he did in his paintings of the late 1930s, Wood transformed his own likeness into a plowman who is Everyman, dressed in the farm uniform that was both democratic and anonymous in its ubiquity. In keeping with his program of simplification, Wood further reduced the imagery of <em>Plowing on Sunday</em> by eliminating the plow, the tool that served as both the icon and metaphor for the activity of tilling the earth. In <em>Plowing on Sunday</em> he introduces the reins at the lower corner of the picture to imply both the farm animals and the instrument they control, and uses the field and low horizon to reinforce the symbolic and decorative value of the leather straps. He follows their taut lines with a wavy pattern of plowed furrows and marks the border of the field with a parallel march of tiny white fence posts. Barely visible on the horizon are a classic Iowa barn and windmill, selective decorative marks that are intentional references to the rural architecture whose extinction Wood feared.The windmill is a prominent element in the two self-portraits made by Wood (cited in endnote 7). Wanda Corn, on page 126 of Grant Wood: The Regionalist Vision (New Haven: Minneapolis Museum of Art and Yale University Press, 1983), notes that Wood “had become particularly attached to the windmill, a familiar landmark in the Midwest, which he feared was becoming extinct,” and that he always found a way to work it into his compositions as a type of signature. Wood re-utilized and expanded the plowman image after he became director of the Iowa’s Public Works of Art Projects in 1934. A full-scale variant of the farmer, posed with his plow and its resting team of horses, drinks from a water jug in the central panel of <em>Breaking the Prairie Sod</em>, Wood’s mural cycle for the Iowa State University Library at Ames.Breaking the Prairie, 1937 (oil on canvas, center panel: 132 x 279 in.; The Iowa State University Library, Ames, Iowa; accessible at https://isuartandhistory.files.wordpress.com/2011/06/copy-of-images-014.jpg). There is also a finished drawing for this mural: Breaking the Prairie, ca. 1935–1937 (colored pencil, chalk, and pencil on brown paper; 22 3/4 x 80 1/4 in.; The Whitney Museum of American Art, Gift of Mr. & Mrs. George D. Stoddard). <em>Maureen O’Brien Curator, Painting and Sculpture</em> ', 'en') (Line: 118) Drupal\filter\Element\ProcessedText::preRenderText(Array) call_user_func_array(Array, Array) (Line: 111) Drupal\Core\Render\Renderer->doTrustedCallback(Array, Array, 'Render #pre_render callbacks must be methods of a class that implements \Drupal\Core\Security\TrustedCallbackInterface or be an anonymous function. The callback was %s. 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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->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->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->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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