NEW HOPE ART COLONY

Daniel Garber 1900

Possibly photographed by Haeseler

Macbeth Gallery records

Archives of American Art, Smithsonian Institution

From WIKIMEDIA

Daniel Garber (1880-1958) was born in North Manchester, Indiana, the youngest son of a Mennonite family. He studied with Frank Duveneck at the Art Academy of Cincinnati and later at the Pennsylvania Academy of the Fine Arts with Thomas Anschutz, J. Alden Weir, William Merritt Chase and Cecilia Beaux. In 1905 he traveled to England on a Pennsylvania Academy of the Fine Arts fellowship, returning to America in 1907 and establishing a studio in Bucks County, just north of Philadelphia. In the years that followed, Garber became a central figure in the New Hope art community, a mainstay of the Pennsylvania Impressionist group of painters and one of the most significant and decorated artists of his generation. He also became a renowned teacher of drawing at the Pennsylvania Academy of the Fine Arts, loved and respected by generations of students. His drawings are used as teaching tools to this day.

(liveauctioneers.com)

Batter Sea Bridge 1905

From dvoloshinov.selfip.net

Tohickon

Smithsonian American Art Museum

Bequest of Henry Ward Ranger

Through the National Academy of Design

From americanart.si.edu

Formerly a star pupil at the Pennsylvania Academy of the Fine Arts, Daniel Garber returned in 1909 as a member of the faculty. For forty-one years he instructed students in drawing from antique casts and painting "en plein air". Renowned for his strictness, Garber stirred up a nervous silence in his students as he passed among them, correcting the mistakes in their work. The gruff severity of his remarks often reduced his students, especially women, to tears. "Can you cook?" he snapped. "You sure can't draw, so you'd better learn how to cook!" Garber's students respected his harshness, recognizing the high expectations and dedicated concern underlying it.

(michenermuseum.org)

Self Portrait 1911

From dvoloshinov.selfip.net

Returning to the United States, Garber and his wife Mary Franklin Garber settled on the Kenderdine Homestead, near Lumberville, Pennsylvania, which was purchased for them by Mary’s father. Garber renamed his home Cuttalossa after the creek that was adjacent to the property. Not far from his home, Garber could look across the Delaware River to the great stone quarries at Byram, New Jersey, which he often painted. Garber created a style of landscape painting characterized by romanticized, representational imagery. These scenes, often overlaid with extensive surface patterning, are dominated by blues, greens, and rich yellows. In his compositions, Garber often used a screening device of trees and vines with a sweeping vista behind. Garber was as talented a figure painter as he was a landscapist. He incorporated figures into many of his landscapes and, particularly in the period 1908-1924, he used the figure as his primary subject,

(Hollis Taggart Galleries at hollistaggart.com)

Little Village Winter 1914

From dvoloshinov.selfip.net

Garber and other artist’s contributions to the area were noted in Dubois’ 1915 article, when the critic observed that the New Hope artists had created a new and distinctly American style by adapting the technique of the French Impressionists. Garber’s adaptation was to employ the brushstroke techniques of French Impressionists, but creating highly stylized and flattened compositions. This was a reflection of his training and experience and an approach being explored by emerging abstract artists.

(Ackerman's Fine Art at ackermansfineart.com)

Pioneer's House 1920

Produced near Brownsburgh, Pennsylvania

James E. Roberts Fund

Art of the American West Gallery

From imamuseum.org

Conowingo 1930

From dvoloshinov.selfip.net

Green Pastures 1935

From dvoloshinov.selfip.net

During the early decades of the twentieth century, an increasing number of art instructors and students favored new and modern aesthetics and teaching methods, thereby dividing the Pennsylvania Academy community. Although Garber faithfully defended the methods that had shaped his own education at the turn of the century, he insisted upon treating all students fairly. When he retired in 1950, the entire community of the Academy lamented the loss of one of America's best-loved art teachers.

(michenermuseum.org)

Like most impressionist painters, Garber painted landscapes en plein air, directly from nature. He exhibited his works nationwide and earned numerous awards, including a gold medal at the Panama-Pacific International Exposition (1915) in San Francisco, California. He was elected a member of the National Academy of Design in 1913. Garber died on July 5, 1958, after falling from a ladder at his studio. Today, Garber's paintings are considered by collectors and art historians to be among the finest works produced from the New Hope art colony. His paintings are owned by major museums including the Smithsonian American Art Museum in Washington, DC, and the Art Institute of Chicago.

(WIKIPEDIA)

NEW HOPE ART COLONY

Daniel Garber 1900

Possibly photographed by Haeseler

Macbeth Gallery records

Archives of American Art, Smithsonian Institution

From WIKIMEDIA

Daniel Garber (1880-1958) was born in North Manchester, Indiana, the youngest son of a Mennonite family. He studied with Frank Duveneck at the Art Academy of Cincinnati and later at the Pennsylvania Academy of the Fine Arts with Thomas Anschutz, J. Alden Weir, William Merritt Chase and Cecilia Beaux. In 1905 he traveled to England on a Pennsylvania Academy of the Fine Arts fellowship, returning to America in 1907 and establishing a studio in Bucks County, just north of Philadelphia. In the years that followed, Garber became a central figure in the New Hope art community, a mainstay of the Pennsylvania Impressionist group of painters and one of the most significant and decorated artists of his generation. He also became a renowned teacher of drawing at the Pennsylvania Academy of the Fine Arts, loved and respected by generations of students. His drawings are used as teaching tools to this day.

(liveauctioneers.com)

Batter Sea Bridge 1905

From dvoloshinov.selfip.net

Tohickon

Smithsonian American Art Museum

Bequest of Henry Ward Ranger

Through the National Academy of Design

From americanart.si.edu

Formerly a star pupil at the Pennsylvania Academy of the Fine Arts, Daniel Garber returned in 1909 as a member of the faculty. For forty-one years he instructed students in drawing from antique casts and painting "en plein air". Renowned for his strictness, Garber stirred up a nervous silence in his students as he passed among them, correcting the mistakes in their work. The gruff severity of his remarks often reduced his students, especially women, to tears. "Can you cook?" he snapped. "You sure can't draw, so you'd better learn how to cook!" Garber's students respected his harshness, recognizing the high expectations and dedicated concern underlying it.

(michenermuseum.org)

Self Portrait 1911

From dvoloshinov.selfip.net

Returning to the United States, Garber and his wife Mary Franklin Garber settled on the Kenderdine Homestead, near Lumberville, Pennsylvania, which was purchased for them by Mary’s father. Garber renamed his home Cuttalossa after the creek that was adjacent to the property. Not far from his home, Garber could look across the Delaware River to the great stone quarries at Byram, New Jersey, which he often painted. Garber created a style of landscape painting characterized by romanticized, representational imagery. These scenes, often overlaid with extensive surface patterning, are dominated by blues, greens, and rich yellows. In his compositions, Garber often used a screening device of trees and vines with a sweeping vista behind. Garber was as talented a figure painter as he was a landscapist. He incorporated figures into many of his landscapes and, particularly in the period 1908-1924, he used the figure as his primary subject,

(Hollis Taggart Galleries at hollistaggart.com)

Little Village Winter 1914

From dvoloshinov.selfip.net

Garber and other artist’s contributions to the area were noted in Dubois’ 1915 article, when the critic observed that the New Hope artists had created a new and distinctly American style by adapting the technique of the French Impressionists. Garber’s adaptation was to employ the brushstroke techniques of French Impressionists, but creating highly stylized and flattened compositions. This was a reflection of his training and experience and an approach being explored by emerging abstract artists.

(Ackerman's Fine Art at ackermansfineart.com)

Pioneer's House 1920

Produced near Brownsburgh, Pennsylvania

James E. Roberts Fund

Art of the American West Gallery

From imamuseum.org

Conowingo 1930

From dvoloshinov.selfip.net

Green Pastures 1935

From dvoloshinov.selfip.net

During the early decades of the twentieth century, an increasing number of art instructors and students favored new and modern aesthetics and teaching methods, thereby dividing the Pennsylvania Academy community. Although Garber faithfully defended the methods that had shaped his own education at the turn of the century, he insisted upon treating all students fairly. When he retired in 1950, the entire community of the Academy lamented the loss of one of America's best-loved art teachers.

(michenermuseum.org)

Like most impressionist painters, Garber painted landscapes en plein air, directly from nature. He exhibited his works nationwide and earned numerous awards, including a gold medal at the Panama-Pacific International Exposition (1915) in San Francisco, California. He was elected a member of the National Academy of Design in 1913. Garber died on July 5, 1958, after falling from a ladder at his studio. Today, Garber's paintings are considered by collectors and art historians to be among the finest works produced from the New Hope art colony. His paintings are owned by major museums including the Smithsonian American Art Museum in Washington, DC, and the Art Institute of Chicago.

(WIKIPEDIA)

THE GOSSIPS

The Gossips

Oil on canvas

Painting for The Saturday Evening Post cover

March 6, 1948

Ken and Katharine Stuart Collection

From wallpapers-free.co.uk

The Gossips cover was the most popular Rockwell Post cover in thirty-three years and sold the most magazines in five years. Rockwell had the idea for it twenty years earlier but he couldn’t quite get the ending until he thought to have the subject of the gossips (posed for by Rockwell) hear the story about himself at the end of the circle. Thousands of letters were sent to the Post asking what the gossip was they were passing along. An answer was never given. In an interview in December of 1948, Rockwell remembered that the woman who posed for the first lady in the picture, the one who had started the gossip, was still a little peeved at him. Not all of his subjects were critical. One model told a reporter, “It’s more fun posing for him than going to the movies. Norman keeps you in stitches with his funny stories.”

(NORMAN ROCKWELL MUSEUM at nrm.org)

SEP Cover

From saturdayeveningpost.com

The Gossips photo

From nrm.org

All above images

From Norman Rockwell Art Collection Trust

From nrm.org

The Gossips (drawing)

Pencil and charcoal study for painting

Norman Rockwell Art Collection Trust

From nrm.org

Photography has been a benevolent tool for artists from Thomas Eakins and Edgar Degas to David Hockney. And to illustrators, always on the lookout for better ways to meet deadlines, the camera has long been a natural ally. But the thousands of photographs Norman Rockwell created as studies for his iconic images are a case apart. A natural storyteller, Rockwell envisioned his narrative scenarios down to the smallest detail. Yet at the easel he was an absolute literalist who rarely painted directly from his imagination. Instead, he first brought his ideas to life in studio sessions, staging photographs that are fully realized works of art in their own right. Selecting props and locations, choosing and directing his models, he carefully orchestrated each element of his design for the camera before beginning to paint. Meticulously composed and richly detailed, Norman Rockwell’s study photographs mirror his masterworks in a tangible parallel universe. Photography opened a door to the keenly observed authenticity that defines Norman Rockwell’s art. And for us today it is a revelation to discover that so many of his most memorable characters were, in fact, real people.

(NORMAN ROCKWELL MUSEUM at nrm.org)

Known for his illustrative manner Rockwell was employed for over four decades by American magazine The Saturday Evening Post; merging the boundaries of painting and illustration he also sold works of art, his style between the two differed little. The Gossip is a manipulation of Rockwell’s talent of facial expression, despite only revealing heads he is able to perfectly create the persona of each and every one of the conjured figures. So expressive is each face one can completely imagine the rest of the body; such attention to detail is paid, each character is given a token item of dress, a hat, glasses, reflecting of character. Hands of course are used, consistently betraying conversation as they exclaim throughout the chain of Chinese whispers that ends amusingly right where it started. As with much of Rockwell’s art, the image illustrates an aspect of life, humorous and identifiable we immediately connect with the painting, as was of course the advertisement-fuelled aim.

(postcardwall.wordpress.com)

It seems Rockwell had a neighbor who started a disagreeable rumor about him. What can one do about a nasty gossip? Well, if you are a famous illustrator, you can paint a cover about it. It started with just a couple of people, and then it just grew, leaving Rockwell in need of more models. The result, said the editors, is that we see “almost the entire adult population of Arlington, Vermont.” As he worked on the project, the artist worried that his friends and neighbors might be offended, so he included his wife and himself. Mary Rockwell is second and third in the third row, spreading the rumor via rotary phone. In the gray felt hat in the bottom row is, of course, the artist himself (you can click on the image for a close-up). You’ll notice the lady at the end is the one at the beginning who started the rumor, and our friend Rockwell appears to be giving her a piece of his mind. Apparently, the neighbor who started the rumor in real life never spoke to Rockwell again. We have a feeling it was no great loss. The lesson here is: don’t anger someone whose Saturday Evening Post covers are viewed by millions.

(saturdayeveningpost.com)

THE GOSSIPS

The Gossips

Oil on canvas

Painting for The Saturday Evening Post cover

March 6, 1948

Ken and Katharine Stuart Collection

From wallpapers-free.co.uk

The Gossips cover was the most popular Rockwell Post cover in thirty-three years and sold the most magazines in five years. Rockwell had the idea for it twenty years earlier but he couldn’t quite get the ending until he thought to have the subject of the gossips (posed for by Rockwell) hear the story about himself at the end of the circle. Thousands of letters were sent to the Post asking what the gossip was they were passing along. An answer was never given. In an interview in December of 1948, Rockwell remembered that the woman who posed for the first lady in the picture, the one who had started the gossip, was still a little peeved at him. Not all of his subjects were critical. One model told a reporter, “It’s more fun posing for him than going to the movies. Norman keeps you in stitches with his funny stories.”

(NORMAN ROCKWELL MUSEUM at nrm.org)

SEP Cover

From saturdayeveningpost.com

The Gossips photo

From nrm.org

All above images

From Norman Rockwell Art Collection Trust

From nrm.org

The Gossips (drawing)

Pencil and charcoal study for painting

Norman Rockwell Art Collection Trust

From nrm.org

Photography has been a benevolent tool for artists from Thomas Eakins and Edgar Degas to David Hockney. And to illustrators, always on the lookout for better ways to meet deadlines, the camera has long been a natural ally. But the thousands of photographs Norman Rockwell created as studies for his iconic images are a case apart. A natural storyteller, Rockwell envisioned his narrative scenarios down to the smallest detail. Yet at the easel he was an absolute literalist who rarely painted directly from his imagination. Instead, he first brought his ideas to life in studio sessions, staging photographs that are fully realized works of art in their own right. Selecting props and locations, choosing and directing his models, he carefully orchestrated each element of his design for the camera before beginning to paint. Meticulously composed and richly detailed, Norman Rockwell’s study photographs mirror his masterworks in a tangible parallel universe. Photography opened a door to the keenly observed authenticity that defines Norman Rockwell’s art. And for us today it is a revelation to discover that so many of his most memorable characters were, in fact, real people.

(NORMAN ROCKWELL MUSEUM at nrm.org)

Known for his illustrative manner Rockwell was employed for over four decades by American magazine The Saturday Evening Post; merging the boundaries of painting and illustration he also sold works of art, his style between the two differed little. The Gossip is a manipulation of Rockwell’s talent of facial expression, despite only revealing heads he is able to perfectly create the persona of each and every one of the conjured figures. So expressive is each face one can completely imagine the rest of the body; such attention to detail is paid, each character is given a token item of dress, a hat, glasses, reflecting of character. Hands of course are used, consistently betraying conversation as they exclaim throughout the chain of Chinese whispers that ends amusingly right where it started. As with much of Rockwell’s art, the image illustrates an aspect of life, humorous and identifiable we immediately connect with the painting, as was of course the advertisement-fuelled aim.

(postcardwall.wordpress.com)

It seems Rockwell had a neighbor who started a disagreeable rumor about him. What can one do about a nasty gossip? Well, if you are a famous illustrator, you can paint a cover about it. It started with just a couple of people, and then it just grew, leaving Rockwell in need of more models. The result, said the editors, is that we see “almost the entire adult population of Arlington, Vermont.” As he worked on the project, the artist worried that his friends and neighbors might be offended, so he included his wife and himself. Mary Rockwell is second and third in the third row, spreading the rumor via rotary phone. In the gray felt hat in the bottom row is, of course, the artist himself (you can click on the image for a close-up). You’ll notice the lady at the end is the one at the beginning who started the rumor, and our friend Rockwell appears to be giving her a piece of his mind. Apparently, the neighbor who started the rumor in real life never spoke to Rockwell again. We have a feeling it was no great loss. The lesson here is: don’t anger someone whose Saturday Evening Post covers are viewed by millions.

(saturdayeveningpost.com)

1922 Amsterdam Dog Show. Whippet at 2:55

http://www.filminnederland.nl/film/hondententoonstelling

ARTI ET AMICITIAE

Adrianus Eversen

From lesliesmith.nl

Adrianus Eversen was born in Amsterdam on January 13, 1818. He was a gifted painter and one of the most successful cityscapists of his time. Eversen received his artistic training under the painter Cornelis de Kruyff (1771-1854), who introduced him to painting old Dutch cityscapes. He was also a pupil of the well-known Dutch town view painter Cornelis Springer (1817-1891), who was only one year older than Eversen. Under his tutelage Eversen learned and developed a brilliant compositional structure, elaboration of details and warm color scheme.

(lesliesmith.nl)

View Of A Dutch Street

From xaxor.com

A View In Delft

From xaxor.com

Eversen is known for his architectural views of old cities in Holland, such as Haarlem, Amersfoort and Alkmaar, rendered mostly in oil and watercolor. Of course he painted many views of Amsterdam, where he worked and exhibited regularly between 1840 and 1885. However, Eversen took a lot of freedom when it came to subject matter, arranging the city views in a manner that an attractive townscape arose. Unlike many of Springer’s paintings for instance, the works of Eversen show often little or no topographical resemblance, making it difficult to locate the subjects.

(lesliesmith.nl)

Figures in Sunlit Streets of Dutch Town

Source Artrenewal.org

From commons.wikimedia.org

Dutch Town Scene

From masterart.com

Eversen lived and worked in Amsterdam, exhibiting there between 1840 and 1885. He was a member of the elite association of artists known as the Arti et Amicitiae. His very sensitive and detailed paintings not only excelled in the representation of the beautiful architecture of that time, but also record his poetic response to the atmosphere of everyday life in Dutch towns. From the 1860s his town views were regularly exhibited in Bremen, Dresden, Berlin and Vienna. He was highly regarded in his lifetime, selling many works in Belgium, Holland and the United Kingdom. A collection of Eversen’s paintings at the Victoria & Albert Museum was donated by the English collector John Sheepshanks.

(onlinegalleries.com)

Villagers in a snowy street

From allartclassic.com

Numerous townspeople in a snow-covered street, Delft

From otkritka-reprodukzija.blogspot.com

A Sunlit Street on Market Day 

From otkritka-reprodukzija.blogspot.com

Work by Adrianus Eversen is represented in the collections of diverse museums, including the Stedelijk Museum and Rijksprentenkabinet in Amsterdam, Rijksmuseum Twente in Enschede and the Crocker Art Museum, E.B. Crocker Collection, U.S.A.

(lesliesmith.nl)

ARTI ET AMICITIAE

Adrianus Eversen

From lesliesmith.nl

Adrianus Eversen was born in Amsterdam on January 13, 1818. He was a gifted painter and one of the most successful cityscapists of his time. Eversen received his artistic training under the painter Cornelis de Kruyff (1771-1854), who introduced him to painting old Dutch cityscapes. He was also a pupil of the well-known Dutch town view painter Cornelis Springer (1817-1891), who was only one year older than Eversen. Under his tutelage Eversen learned and developed a brilliant compositional structure, elaboration of details and warm color scheme.

(lesliesmith.nl)

View Of A Dutch Street

From xaxor.com

A View In Delft

From xaxor.com

Eversen is known for his architectural views of old cities in Holland, such as Haarlem, Amersfoort and Alkmaar, rendered mostly in oil and watercolor. Of course he painted many views of Amsterdam, where he worked and exhibited regularly between 1840 and 1885. However, Eversen took a lot of freedom when it came to subject matter, arranging the city views in a manner that an attractive townscape arose. Unlike many of Springer’s paintings for instance, the works of Eversen show often little or no topographical resemblance, making it difficult to locate the subjects.

(lesliesmith.nl)

Figures in Sunlit Streets of Dutch Town

Source Artrenewal.org

From commons.wikimedia.org

Dutch Town Scene

From masterart.com

Eversen lived and worked in Amsterdam, exhibiting there between 1840 and 1885. He was a member of the elite association of artists known as the Arti et Amicitiae. His very sensitive and detailed paintings not only excelled in the representation of the beautiful architecture of that time, but also record his poetic response to the atmosphere of everyday life in Dutch towns. From the 1860s his town views were regularly exhibited in Bremen, Dresden, Berlin and Vienna. He was highly regarded in his lifetime, selling many works in Belgium, Holland and the United Kingdom. A collection of Eversen’s paintings at the Victoria & Albert Museum was donated by the English collector John Sheepshanks.

(onlinegalleries.com)

Villagers in a snowy street

From allartclassic.com

Numerous townspeople in a snow-covered street, Delft

From otkritka-reprodukzija.blogspot.com

A Sunlit Street on Market Day 

From otkritka-reprodukzija.blogspot.com

Work by Adrianus Eversen is represented in the collections of diverse museums, including the Stedelijk Museum and Rijksprentenkabinet in Amsterdam, Rijksmuseum Twente in Enschede and the Crocker Art Museum, E.B. Crocker Collection, U.S.A.

(lesliesmith.nl)