18th-Century American Women by Jeremiah Theus (1716-1774)

.

 Jeremiah Theus (American colonial era artist, 1716-1774) Mary Broughton (Mrs. Isaac Motte)

Jeremiah Theus was born in Chur, Switzerland; and at age 19, arrived in South Carolina with his family in 1735.

Jeremiah Theus (American colonial era artist, 1716-1774) Mrs. James Skirving (Sarah Vinson)

During this period, South Carolina's General Assembly encouraged European Protestants to settle in the colony by providing transportation funds and supplying immigrants with farm tools and a year’s stock of food. Theus's family received a 250-acre land grant on the Edisto River and a town lot.

1755 Jeremiah Theus (American colonial era artist, 1716-1774) Suzanna Moore Smyth

Jeremiah Theus (American colonial era artist, 1716-1774) Mrs. Charles Lowndes (Sarah Parker)

By 1740, Theus began serving as the area's only resident portraitist. He may have received some training in Switzerland and brought some prints with him to South Carolina.

1756 Jeremiah Theus (American colonial era artist, 1716-1774) Portrait of a Lady

Jeremiah Theus (American colonial era artist, 1716-1774) Mrs Thomas Lynch (Elizabeth Allston)

Theus referred to a somewhat limited number of English mezzotint portraits for his client's poses and costumes. He also stylized facial features of his sitters, resulting in many similar portraits.

1757 Jeremiah Theus (American colonial era artist, 1716-1774) Elizabeth Rothmahler

On August 30, 1740, Jeremiah Theüs advertised in the South-Carolina Gazette: "Notice is hereby given, that Jeremiah Theus Limner is remov’d into the Market Square near Mr. John Laurans Sadler, where all Gentlemen and Ladies may have their Pictures drawn, likewise Landskips of all Sizes, Crests, and Coats of Arms for Coaches or Chaises. Likewise for the Conveniency of those who live in the Country, he is willing to wait on them at their respective Plantations."

1757 Jeremiah Theus (American colonial era artist, 1716-1774) Elizabeth Wragg Manigault

Jeremiah Theus (American colonial era artist, 1716-1774) Elizabeth Clifford Wayne

Theus also painted landscapes and coats of arms, and by 1744, was offering an evening drawing school for "young Gentlemen and Ladies" at his house in Charleston.

1757 Jeremiah Theus (American colonial era artist, 1716-1774) Mrs Gabriel Manigault

Jeremiah Theus (American colonial era artist, 1716-1774) Elizabeth Savage Branford

His popularity is apparent in a letter written to him by James Habersham (1715–1775), who served as acting colonial governor of Georgia from 1771 to 1773. In July 1772, Habersham wrote to Theüs, "I received...all my Family Pictures, besides Mr Wylly’s, and Mrs Crookes, Coll Jones’ Grandchild, and two for Mr Clay, which are all delivered—I have also your account for my 7 Pictures, amounting to Three Hundred and twenty Pounds South Carolina Currency, which I shall order to be paid you." The artist died in Charleston in 1774.

Jeremiah Theus (American colonial era artist, 1716-1774)  Mrs. Barnard Elliott II (Mary Elizabeth Bellinger)

1760 Jeremiah Theus (American colonial era artist, 1716-1774) Mary Trusler.

Jeremiah Theus (American colonial era artist, 1716-1774)  Mrs. Martha Vinson

1761 Jeremiah Theus (American colonial era artist, 1716-1774) Polly Ouldfield of Winyah.

Jeremiah Theus (American colonial era artist, 1716-1774)  Mrs. Rawlins Lowndes (Sarah Jones)

1765 Jeremiah Theus (American colonial era artist, 1716-1774) Hannah Dart.

1765 Jeremiah Theus (American colonial era artist, 1716-1774) Mary (Mrs. James Cuthbert).

1770s Jeremiah Theus (American colonial era artist, 1716-1774) Elizabeth Vanderhorst Moore.

1770 Jeremiah Theus (American colonial era artist, 1716-1774) Mrs. Garner Greene.

1771 Jeremiah Theus (American colonial era artist, 1716-1774) Marcy Olney

Jeremiah Theus (American colonial era artist, 1716-1774) Mary Mazyck

1753 Jeremiah Theus (American colonial era artist, 1716-1774) Elizabeth Martin (Mrs. Jacob Motte

Jeremiah Theus (American colonial era artist, 1716-1774) Elizabeth Prioleau Rupell

Jeremiah Theus (American colonial era artist, 1716-1774) Portrait of a Child

1756 Jeremiah Theus (American colonial era artist, 1716-1774) Martha Logan (Mrs Lionel Chalmers)

1752-54 Jeremiah Theus (American colonial era artist, 1716-1774) Mrs. John Dart.

1765 Jeremiah Theus (American colonial era artist, 1716-1774) Anne Livingston (Mrs. John Champneys)

1758 Jeremiah Theus (American colonial era artist, 1716-1774) Susannah Holmes (1739–1771)

To see gentlemen painted by Theus, go to the American Gallery.
.

PICTURE MAKER OF THE OLD WEST

William Henry Jackson Early Portrait - 1860s

From oldoregonphotos.com

Portrait of WH Jackson by FP Clatworthy

From oldestes.com

William Henry Jackson’s camera

From i.gettysburgdaily.com

Photo of W.H.Jackson in later years

From WIKIPEDIA

William Henry Jackson (April 4, 1843 - June 30, 1942) is best known as the first person to photograph the wonders of Yellowstone. His images adorned the parlors of millions of American households and aided in the effort to create the world's first national park. Jackson was also an accomplished artist who recorded his experiences as a young man. His drawings and paintings provide valuable insights to life in a time when America was suffering through the Civil War and venturing westward in search of a national identity.

Growing up in Keeseville, New York, Jackson could not recall a time when he was not drawing pictures. His mother was an accomplished painter of watercolors, and he credited her encouragement with his later success. At the age of 10, Jackson received his first formal artistic training, learning to use perspective and form, color and composition. His drawings now began to take on a more realistic and mature appearance.

His first job as an artist was not a glamorous one. In 1858, he was hired as a retoucher for a photographic studio in Troy, New York, where he worked for two years. His job was to warm up black and white portraits by tinting them with watercolors and to enhance details in the photographs with India ink. During this time, he learned how to use cameras and the darkroom techniques of the time.

(nps.gov)

William Henry Jackson was a great-great nephew of Samuel Wilson, the progenitor of America's national symbol Uncle Sam. After his boyhood in Troy, New York and Rutland, Vermont, in October 1862 Jackson at the age of 19 joined as a private in Company K of 12th Vermont Infantry of the Union Army. Jackson spent much of his free time sketching drawings of his friends and various scenes of Army camp life that he sent home to his family as his way of letting them know he was safe. Later he fought in the American Civil War for nine months, including (only) one major battle, the battle of Gettysburg, but Jackson spent most of his tour on garrison duty and was guarding a supply train during the engagement. His regiment mustered out 14 July 1863. Jackson then returned to Rutland, VT, where he eventually got into creative crisis as a painter in post-Civil-War American society. Having broken his engagement to Miss Carolina Eastman he left Vermont forever, for the American West.

In 1866 Jackson boarded a Union Pacific railroad and traveled until it reached the end of the line at that time, about one hundred miles west of Omaha, Nebraska, where he then joined a wagon train heading west to Great Salt Lake as a Bullwhacker, on the Oregon Trail. In 1867 along with his brother Edward Jackson he settled down in Omaha, NE and got into the photography business. On ventures that often lasted for several days, Jackson acted as a "missionary to the Indians" around the Omaha region and it was there that Jackson made his now famous photographs of the American Indians: Osages, Otoes, Pawnees, Winnebagoes and Omahas

(WIKIPEDIA)

William Henry Jackson is known as America’s pioneer photographer. He published tens of thousands of prints of his work and that of other photographers, wrote extensively, painted and sketched, and built two of the most successful photographic view companies in the history of photography, his studio in Denver and later the Detroit Photographic Publishing Company. Best known for his dramatic and descriptive nineteenth-century Western-landscape photographs he worked in formats ranging from cdvs to gigantic single print multi-mammoth plate panoramic up to 92 inches wide.

Throughout his life Jackson found he preferred outdoor work. In Omaha he continued photographing the Pawnee and Omaha Indians in the vicinity. By 1869 he was traveling with A.C. Hull westward along the Union Pacific Railroad from Omaha, photographing towns, settlers, railroad workers, and some landscapes and received an order for 10,000 views from Edward Anthony of New York.

(andrewsmithgallery.com)

Studio portrait of delegate Coho
(Nuqnikus, Lame Man)

From americanindian.si.edu

Chief Ouray, Ute Chieftain, and his sub-chiefs

Peoples of Utah Photograph Collection

From content.lib.utah.edu

George Manhart's store

Early town of Round Corral (later called Sedalia.)

From douglascountyhistory.org

The Twenty Mile house

Cherokee Trail

From douglascountyhistory.org

Camp along Medicine Bow River

Hayden Expedition

From userpages.aug.com

The Union Pacific reached Medicine Bow in 1868, when the town consisted of little more than a store and saloon. Jackson in 1869 followed the Railroad from town to town across the Territory. Thus, he had visited the area before his joining of the Hayden expedition pictured above.
(userpages.aug.com)

Tower Falls, Yellowstone National Park

From content.answers.com

Jackson's artistic growth as a landscape photographer germinated with the 1869 work and quickly matured when he was hired by Ferdinand V. Hayden as the official photographer for the U.S. Geological and Geographical Survey of the Territories. Influenced by Thomas Moran, a painter on the survey, and photographers C. R. Savage and A. J. Russell, Jackson absorbed the aesthetic of romantic engagement of the western landscape and development and colonization of the Territories. However, this was countered by the inherent drama of being the first to photograph many high mountain peaks, valleys and western scenes in a more descriptive and topographic style.

He and Hayden published portfolios to be sold and given away during this time, including albums on Yellowstone, the four corners area of the American Southwest and of American Indians.

(andrewsmithgallery.com)

Family encamped near the head of Medicine Lodge Creek

Clark County, Idaho, June 11, 1871

US Geographical and Geological Survey of 1871

From nmai.si.edu

Grand Canyon of the Colorado 1880

From kitp.ru

Lake Worth Railroad, Florida,1896

From pixdaus.com

At Dinner

Henry Gannett album

George Eastman House

Still Photograph Archive

From geh.org

William Henry Jackson worked in multiple camera and plate sizes, under conditions that were often incredibly difficult. His photography was based on the collodion process invented in 1848 and published in 1851 by Frederick Scott Archer. William Henry Jackson traveled with as many as three camera-types-- a stereographic camera (for stereoscope cards), a "whole-plate" or 8x10" plate-size camera, and one even larger, as large as 18x22". These cameras required fragile, heavy glass plates (photographic plates) which had to be coated, exposed, and developed onsite, before the wet-collodion emulsion dried. Without light metering equipment or sure emulsion speeds, exposure times required inspired guesswork, between five seconds and twenty minutes depending on light conditions.

Preparing, exposing, developing, fixing, washing then drying a single image could take the better part of an hour. Washing the plates in 160 °F hot spring water cut the drying time by more than half, while using water from snow melted and warmed in his hands slowed down the processing substantially. His photographic division of 5-7 men carried photographic equipment on the backs of mules and rifles on their shoulders - Siouxess still made scalping - William Henry Jackson's life experience (as military, as peaceful dealing with Indians) was welcomed. The weight of the glass plates and the portable darkroom limited the number of possible exposures on any one trip, and these images were taken in primitive, roadless, and physically challenging conditions. Once when the mule lost its footing, William Henry Jackson lost a month's work, having to return to untracked Rocky Mountain landscapes to remake the pictures.

(William Henry Jackson Biography by leegallery.com)

Longs Peak

The entrance to the Big Thompson Canyon

From oldestes.com

The photographs and art work, which comprise the bulk of the William Henry Jackson collection in the L. Tom Perry Special Collections, include 1,082 individual items, of which 1,079 can be found in this digital collection. There is an astonishing range of subjects and media, and a significant number of images from every phase of his long and prolific career. Approximately 1,000 of the photographs are attributed to Jackson, with three photographs clearly those of his son, Clarence S. Jackson.

(WIKIPEDIA)

A Tea Planter, Gampola, Ceylon

From museumsyndicate.com

Mountain Road near Haputale, Ceylon, 1894

Oxen and man pulling thatched wagons

World Transportation Commission

From lankapura.com

An old water-wheel in the suburbs of Tunis

Published as halftone in Harper''s Weekly, 1895

From popartmachine.com

Geographically the collection is dominated by scenery of the western United States and Mexico, but also includes 231 images from all of the Asian and Pacific countries, except Korea, visited from 1894-1896, as a part of the World Transportation Commission travels. Because of his lengthy stay in Colorado, the over 190 Colorado images form the largest single group of western photographs. The over 90 images of Mexico form the next largest group of photographs. Native American portraiture, with approximately 60 images, Yellowstone, 56 images, and Utah, 21 images, also form important portions of the collection. The approximately 30 pieces of art, in various media, are western in their focus.

(HAROLD B. LEE LIBRARY at lib.byu.ed)

Jackson moved to Washington, D.C. in 1924, and produced murals of the Old West for the new U.S. Department of the Interior building. He also acted as a technical advisor for the filming of Gone with the Wind.

In 1942, Jackson died at the age of 99 in New York City. He was honored by the Explorer's Club for his 80,000 photographs of the American West. The SS William H Jackson steamship was in active service in 1945. Recognized as one of the last surviving Civil War veterans, he was buried at Arlington National Cemetery. Mount Jackson el. 8,231 feet (2,509 m) just north of the Madison River, in the Gallatin Range of Yellowstone National Park is named in honor of Jackson.

(WIKIPEDIA)

PICTURE MAKER OF THE OLD WEST

William Henry Jackson Early Portrait - 1860s

From oldoregonphotos.com

Portrait of WH Jackson by FP Clatworthy

From oldestes.com

William Henry Jackson’s camera

From i.gettysburgdaily.com

Photo of W.H.Jackson in later years

From WIKIPEDIA

William Henry Jackson (April 4, 1843 - June 30, 1942) is best known as the first person to photograph the wonders of Yellowstone. His images adorned the parlors of millions of American households and aided in the effort to create the world's first national park. Jackson was also an accomplished artist who recorded his experiences as a young man. His drawings and paintings provide valuable insights to life in a time when America was suffering through the Civil War and venturing westward in search of a national identity.

Growing up in Keeseville, New York, Jackson could not recall a time when he was not drawing pictures. His mother was an accomplished painter of watercolors, and he credited her encouragement with his later success. At the age of 10, Jackson received his first formal artistic training, learning to use perspective and form, color and composition. His drawings now began to take on a more realistic and mature appearance.

His first job as an artist was not a glamorous one. In 1858, he was hired as a retoucher for a photographic studio in Troy, New York, where he worked for two years. His job was to warm up black and white portraits by tinting them with watercolors and to enhance details in the photographs with India ink. During this time, he learned how to use cameras and the darkroom techniques of the time.

(nps.gov)

William Henry Jackson was a great-great nephew of Samuel Wilson, the progenitor of America's national symbol Uncle Sam. After his boyhood in Troy, New York and Rutland, Vermont, in October 1862 Jackson at the age of 19 joined as a private in Company K of 12th Vermont Infantry of the Union Army. Jackson spent much of his free time sketching drawings of his friends and various scenes of Army camp life that he sent home to his family as his way of letting them know he was safe. Later he fought in the American Civil War for nine months, including (only) one major battle, the battle of Gettysburg, but Jackson spent most of his tour on garrison duty and was guarding a supply train during the engagement. His regiment mustered out 14 July 1863. Jackson then returned to Rutland, VT, where he eventually got into creative crisis as a painter in post-Civil-War American society. Having broken his engagement to Miss Carolina Eastman he left Vermont forever, for the American West.

In 1866 Jackson boarded a Union Pacific railroad and traveled until it reached the end of the line at that time, about one hundred miles west of Omaha, Nebraska, where he then joined a wagon train heading west to Great Salt Lake as a Bullwhacker, on the Oregon Trail. In 1867 along with his brother Edward Jackson he settled down in Omaha, NE and got into the photography business. On ventures that often lasted for several days, Jackson acted as a "missionary to the Indians" around the Omaha region and it was there that Jackson made his now famous photographs of the American Indians: Osages, Otoes, Pawnees, Winnebagoes and Omahas

(WIKIPEDIA)

William Henry Jackson is known as America’s pioneer photographer. He published tens of thousands of prints of his work and that of other photographers, wrote extensively, painted and sketched, and built two of the most successful photographic view companies in the history of photography, his studio in Denver and later the Detroit Photographic Publishing Company. Best known for his dramatic and descriptive nineteenth-century Western-landscape photographs he worked in formats ranging from cdvs to gigantic single print multi-mammoth plate panoramic up to 92 inches wide.

Throughout his life Jackson found he preferred outdoor work. In Omaha he continued photographing the Pawnee and Omaha Indians in the vicinity. By 1869 he was traveling with A.C. Hull westward along the Union Pacific Railroad from Omaha, photographing towns, settlers, railroad workers, and some landscapes and received an order for 10,000 views from Edward Anthony of New York.

(andrewsmithgallery.com)

Studio portrait of delegate Coho
(Nuqnikus, Lame Man)

From americanindian.si.edu

Chief Ouray, Ute Chieftain, and his sub-chiefs

Peoples of Utah Photograph Collection

From content.lib.utah.edu

George Manhart's store

Early town of Round Corral (later called Sedalia.)

From douglascountyhistory.org

The Twenty Mile house

Cherokee Trail

From douglascountyhistory.org

Camp along Medicine Bow River

Hayden Expedition

From userpages.aug.com

The Union Pacific reached Medicine Bow in 1868, when the town consisted of little more than a store and saloon. Jackson in 1869 followed the Railroad from town to town across the Territory. Thus, he had visited the area before his joining of the Hayden expedition pictured above.
(userpages.aug.com)

Tower Falls, Yellowstone National Park

From content.answers.com

Jackson's artistic growth as a landscape photographer germinated with the 1869 work and quickly matured when he was hired by Ferdinand V. Hayden as the official photographer for the U.S. Geological and Geographical Survey of the Territories. Influenced by Thomas Moran, a painter on the survey, and photographers C. R. Savage and A. J. Russell, Jackson absorbed the aesthetic of romantic engagement of the western landscape and development and colonization of the Territories. However, this was countered by the inherent drama of being the first to photograph many high mountain peaks, valleys and western scenes in a more descriptive and topographic style.

He and Hayden published portfolios to be sold and given away during this time, including albums on Yellowstone, the four corners area of the American Southwest and of American Indians.

(andrewsmithgallery.com)

Family encamped near the head of Medicine Lodge Creek

Clark County, Idaho, June 11, 1871

US Geographical and Geological Survey of 1871

From nmai.si.edu

Grand Canyon of the Colorado 1880

From kitp.ru

Lake Worth Railroad, Florida,1896

From pixdaus.com

At Dinner

Henry Gannett album

George Eastman House

Still Photograph Archive

From geh.org

William Henry Jackson worked in multiple camera and plate sizes, under conditions that were often incredibly difficult. His photography was based on the collodion process invented in 1848 and published in 1851 by Frederick Scott Archer. William Henry Jackson traveled with as many as three camera-types-- a stereographic camera (for stereoscope cards), a "whole-plate" or 8x10" plate-size camera, and one even larger, as large as 18x22". These cameras required fragile, heavy glass plates (photographic plates) which had to be coated, exposed, and developed onsite, before the wet-collodion emulsion dried. Without light metering equipment or sure emulsion speeds, exposure times required inspired guesswork, between five seconds and twenty minutes depending on light conditions.

Preparing, exposing, developing, fixing, washing then drying a single image could take the better part of an hour. Washing the plates in 160 °F hot spring water cut the drying time by more than half, while using water from snow melted and warmed in his hands slowed down the processing substantially. His photographic division of 5-7 men carried photographic equipment on the backs of mules and rifles on their shoulders - Siouxess still made scalping - William Henry Jackson's life experience (as military, as peaceful dealing with Indians) was welcomed. The weight of the glass plates and the portable darkroom limited the number of possible exposures on any one trip, and these images were taken in primitive, roadless, and physically challenging conditions. Once when the mule lost its footing, William Henry Jackson lost a month's work, having to return to untracked Rocky Mountain landscapes to remake the pictures.

(William Henry Jackson Biography by leegallery.com)

Longs Peak

The entrance to the Big Thompson Canyon

From oldestes.com

The photographs and art work, which comprise the bulk of the William Henry Jackson collection in the L. Tom Perry Special Collections, include 1,082 individual items, of which 1,079 can be found in this digital collection. There is an astonishing range of subjects and media, and a significant number of images from every phase of his long and prolific career. Approximately 1,000 of the photographs are attributed to Jackson, with three photographs clearly those of his son, Clarence S. Jackson.

(WIKIPEDIA)

A Tea Planter, Gampola, Ceylon

From museumsyndicate.com

Mountain Road near Haputale, Ceylon, 1894

Oxen and man pulling thatched wagons

World Transportation Commission

From lankapura.com

An old water-wheel in the suburbs of Tunis

Published as halftone in Harper''s Weekly, 1895

From popartmachine.com

Geographically the collection is dominated by scenery of the western United States and Mexico, but also includes 231 images from all of the Asian and Pacific countries, except Korea, visited from 1894-1896, as a part of the World Transportation Commission travels. Because of his lengthy stay in Colorado, the over 190 Colorado images form the largest single group of western photographs. The over 90 images of Mexico form the next largest group of photographs. Native American portraiture, with approximately 60 images, Yellowstone, 56 images, and Utah, 21 images, also form important portions of the collection. The approximately 30 pieces of art, in various media, are western in their focus.

(HAROLD B. LEE LIBRARY at lib.byu.ed)

Jackson moved to Washington, D.C. in 1924, and produced murals of the Old West for the new U.S. Department of the Interior building. He also acted as a technical advisor for the filming of Gone with the Wind.

In 1942, Jackson died at the age of 99 in New York City. He was honored by the Explorer's Club for his 80,000 photographs of the American West. The SS William H Jackson steamship was in active service in 1945. Recognized as one of the last surviving Civil War veterans, he was buried at Arlington National Cemetery. Mount Jackson el. 8,231 feet (2,509 m) just north of the Madison River, in the Gallatin Range of Yellowstone National Park is named in honor of Jackson.

(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)