• TITLE: Horses
      • SIZE: 25.25″ X 30″
      • MEDIUM: Watercolor
      • SIGNED: Lower Right
      • DATE: c.1910
      • NOTES:
        • Gold Medal 1910 American Water Color Society
        • Exhibited in the Chicago Art Institute 1910

 

Horse and Cart

Born in Nuremberg, Germany on July 11, 1864. Ritschel was educated at the Latin and Industrial School in Nuremberg. As a youth he worked as a sailor and it was during this time that he began sketching marine subjects. He studied art at the Royal Academy in Munich under Raupp and Kaulbach before immigrating to NYC in 1895. In 1911 he settled in Carmel, CA while continuing to exhibit on the East Coast and in Europe. His paintings of the sea earned him international acclaim and in 1914 he was elected a member of the National Academy. In 1918 he began construction on his ocean view studio-home in the Carmel Highlands. This castle-like stone structure was to remain his home for the rest of his life except for trips throughout the world, especially the South Seas where he frequently visited. Oldtimers on the Monterey Peninsula remember him garbed in a flowered sarong and perched on a cypress-covered cliff with brushes and easel. Ritschel died at his Carmel home on March 11, 1949. Member: NY WC Club; American WC Society; Carmel AA; Bohemian Club; Société Internationale des Beaux Arts et des Lettres (Paris); Academy of Western Painters (LA); Allied AA; NAC. Exh: SFAA, 1911; NAD, 1913 (prize), 1921 (prize), 1926; NAC, 1914 (gold medal); PPIE, 1915 (gold medal); Calif. State Fair, 1916 (gold medal), 1926 (1st prize); Philadelphia Arts Club, 1918 (gold medal); Calif. WC Society, 1921-23; Salmagundi Club, 1923 (Isador prize), 1930; AIC, 1923 (prize); Royal Academy, 1924; Paris Salon, 1926; Stendahl Gallery (LA), 1929; Santa Cruz Art League, 1937; GGIE, 1939; Biltmore Salon (LA), 1944. In: NAC; NMAA; Monterey Peninsula Museum; PAFA; Oakland Museum; Fort Worth Museum; St Louis Museum; Bowers Museum (Santa Ana); Detroit Art Club; AIC; LACMA; Minneapolis Museum; Crocker Museum (Sacramento); Irvine (CA) Museum; Orange Co. (CA) Museum.

Source:
Edan Hughes, “Artists in California, 1786-1940”
American Art Annual 1919-33; Who’s Who in American Art 1936-47; NY Times, 3-13-1949 (obituary).

 

Source: www.askart.com

  • TITLE: Sand Dunes
  • SIZE: 16″ X 20″
  • MEDIUM: Oil on Canvas
  • SIGNED: Lower Left

Poppies and Lupens

Carmel Beach

One of California’s most notable Impressionist* painters and considered the first resident Impressionist of that state, Granville Redmond is known for his landscapes, many of them floral with poppies and lupines.  He was also one of the first Tonalist* painters of California, a subdued monochromatic* style of haze, fog and moonlight that reportedly “he was more drawn to”. . .(Gerdts 27).   Redmond was also a popular personality and held friendships with many celebrities in the arts, despite certain physical handicaps of his own most especially deafness.

He was born in Philadelphia with the name Grenville Richard Seymour Redmond. At the age of two and a half, he became totally deaf due to scarlet fever, and lived his whole life without hearing or speech.  In 1874, the family moved to San Jose, and from 1879 to 1890, he attended the California School of the Deaf in Berkeley.  There his art teacher, Theophilus D’Estrella, who was also deaf, was a major influence, and Redmond decided to continue art studies at the San Francisco School of Design*.  His teachers included Arthur Mathews and Amedee Joullion.

Redmond distinguished himself, winning the W.E. Brown medal of excellence, and in 1893 was awarded funds from the California School of the Deaf, which made it possible for him to study in Paris at the Academie Julian* under Jean Paul Laurens and Benjamin Constant.  At the Academie Julian, he roomed with sculptor Douglas Tilden, another graduate of the California School for the Deaf.  While in Paris, Redmond distinguished himself once again, when in 1895 his large canvas, Matin d’Hiver, was accepted for the Paris Salon*.

At the California School of Design, he had become acquainted with many other artists including Tonalists* Gottardo Piazzoni, with whom Redmond made several painting trips around California, and Giuseppe Cadenasso, to whom he gave encouragement.  Piazzoni learned sign language, and he and Redmond were lifelong friends.  They roomed together in Parkfield, California, and also in Tiburon.  At that time, it was difficult for artists and would-be artists in San Francisco and in the West to find ways to practice their fine art.  Opportunities in commercial illustration were a little brighter, and Redmond and many other artists were drawn to newspapers and local magazines such as the Overland Monthly as sources of revenue.

In 1898, he returned to California, changed his first name to Granville, and settled in Los Angeles, where he painted many scenes of Laguna Beach, Catalina Island, and San Pedro.  He was married in 1899 to Carrie Ann Jean, a graduate of the Illinois School for the Deaf.  Together they had three children.  While living in Los Angeles, he became friends with Charlie Chaplin, whom he helped in perfecting his pantomime techniques.  Chaplin gave Redmond a studio on the movie lot, collected many of his paintings, and sponsored him in silent acting roles including playing the sculptor in City Lights, and a feature part in You’d Be Surprised.  He also got to know Los Angeles neighbor artists Elmer Wachtel and Norman St. Clair.  All three exhibited paintings with Laguna Beach titles at the annual Spring Exhibition held in San Francisco in 1904.   By 1905 Redmond was receiving considerable recognition as a leading landscape painter and bold colorist.

Redmond’s early works in Los Angeles were mostly moody Tonal landscapes, scenes of farmers and their animals, and nocturnes similar to those by John Bond Francisco and other scenic painters in Northern California.  Redmond also sought subjects throughout the state’s coastal regions, such as Silver and Gold (oil on canvas, Laguna Art Museum), and often summered in Monterey County, where he later settled in 1908.  In 1910, he moved farther north to San Mateo, becoming a member of San Francisco’s art establishment, but he continued to exhibit in Los Angeles and to associate with that city’s artists, returning to live there in 1918.

From 1910 to 1917, he spent time in various Northern California locations, studying and painting.  About the time he moved north, Redmond turned to rendering sweeping terrains covered with highly colorful wildflowers, especially the purple lupine and California’s state flower, the golden poppy.  He developed a colorist method and brushwork linked to Impressionism, though he was motivated more by his subjects than by aesthetic theory.  West Coast critics at that time noted his use of Pointillism* and likened his art to that of Claude Monet and Camille Pissarro.  Although Redmond recognized the public’s preference for his brightly colored poppy pictures, he generally preferred to paint darker, more poetic scenes.  Some of his finest paintings are of Catalina Island in Southern California, and of the oaks of Monterey County in Northern California.

His work is held in many collections including: Laguna Beach Museum, the Los Angeles County Museum of Art, Stanford University Museum, the De Young Museum, the Bancroft Library at the University of California in Berkeley, The California School for the Deaf, the New York City Museum, and the Oakland Museum, where in 1989, a retrospective of his work was shown. He was also a member of numerous clubs, including The Bohemian Club of San Francisco, the California Art Club, The Laguna Beach Art Association, and the San Francisco Art Association.

Granville Redmond died on May 24, 1935 in Los Angeles.

Source:
Edan Hughes, Artists in California, 1786-1940
Michael David Zellman, 300 Years of American Art
William Gerdts, “American Tonalism: An Artistic Overview”, Essay in The Poetic Vision: American Tonalism, pp. 15-27, Spanierman Galleries, LLC. 2005
 

Source: www.askart.com

  • TITLE: Carmel Beach
  • SIZE: 12″ X 24″
  • MEDIUM: Oil on Canvas
  • SIGNED: Lower Right

Poppies and Lupens

Sand Dunes

One of California’s most notable Impressionist* painters and considered the first resident Impressionist of that state, Granville Redmond is known for his landscapes, many of them floral with poppies and lupines.  He was also one of the first Tonalist* painters of California, a subdued monochromatic* style of haze, fog and moonlight that reportedly “he was more drawn to”. . .(Gerdts 27).   Redmond was also a popular personality and held friendships with many celebrities in the arts, despite certain physical handicaps of his own most especially deafness.

He was born in Philadelphia with the name Grenville Richard Seymour Redmond. At the age of two and a half, he became totally deaf due to scarlet fever, and lived his whole life without hearing or speech.  In 1874, the family moved to San Jose, and from 1879 to 1890, he attended the California School of the Deaf in Berkeley.  There his art teacher, Theophilus D’Estrella, who was also deaf, was a major influence, and Redmond decided to continue art studies at the San Francisco School of Design*.  His teachers included Arthur Mathews and Amedee Joullion.

Redmond distinguished himself, winning the W.E. Brown medal of excellence, and in 1893 was awarded funds from the California School of the Deaf, which made it possible for him to study in Paris at the Academie Julian* under Jean Paul Laurens and Benjamin Constant.  At the Academie Julian, he roomed with sculptor Douglas Tilden, another graduate of the California School for the Deaf.  While in Paris, Redmond distinguished himself once again, when in 1895 his large canvas, Matin d’Hiver, was accepted for the Paris Salon*.

At the California School of Design, he had become acquainted with many other artists including Tonalists* Gottardo Piazzoni, with whom Redmond made several painting trips around California, and Giuseppe Cadenasso, to whom he gave encouragement.  Piazzoni learned sign language, and he and Redmond were lifelong friends.  They roomed together in Parkfield, California, and also in Tiburon.  At that time, it was difficult for artists and would-be artists in San Francisco and in the West to find ways to practice their fine art.  Opportunities in commercial illustration were a little brighter, and Redmond and many other artists were drawn to newspapers and local magazines such as the Overland Monthly as sources of revenue.

In 1898, he returned to California, changed his first name to Granville, and settled in Los Angeles, where he painted many scenes of Laguna Beach, Catalina Island, and San Pedro.  He was married in 1899 to Carrie Ann Jean, a graduate of the Illinois School for the Deaf.  Together they had three children.  While living in Los Angeles, he became friends with Charlie Chaplin, whom he helped in perfecting his pantomime techniques.  Chaplin gave Redmond a studio on the movie lot, collected many of his paintings, and sponsored him in silent acting roles including playing the sculptor in City Lights, and a feature part in You’d Be Surprised.  He also got to know Los Angeles neighbor artists Elmer Wachtel and Norman St. Clair.  All three exhibited paintings with Laguna Beach titles at the annual Spring Exhibition held in San Francisco in 1904.   By 1905 Redmond was receiving considerable recognition as a leading landscape painter and bold colorist.

Redmond’s early works in Los Angeles were mostly moody Tonal landscapes, scenes of farmers and their animals, and nocturnes similar to those by John Bond Francisco and other scenic painters in Northern California.  Redmond also sought subjects throughout the state’s coastal regions, such as Silver and Gold (oil on canvas, Laguna Art Museum), and often summered in Monterey County, where he later settled in 1908.  In 1910, he moved farther north to San Mateo, becoming a member of San Francisco’s art establishment, but he continued to exhibit in Los Angeles and to associate with that city’s artists, returning to live there in 1918.

From 1910 to 1917, he spent time in various Northern California locations, studying and painting.  About the time he moved north, Redmond turned to rendering sweeping terrains covered with highly colorful wildflowers, especially the purple lupine and California’s state flower, the golden poppy.  He developed a colorist method and brushwork linked to Impressionism, though he was motivated more by his subjects than by aesthetic theory.  West Coast critics at that time noted his use of Pointillism* and likened his art to that of Claude Monet and Camille Pissarro.  Although Redmond recognized the public’s preference for his brightly colored poppy pictures, he generally preferred to paint darker, more poetic scenes.  Some of his finest paintings are of Catalina Island in Southern California, and of the oaks of Monterey County in Northern California.

His work is held in many collections including: Laguna Beach Museum, the Los Angeles County Museum of Art, Stanford University Museum, the De Young Museum, the Bancroft Library at the University of California in Berkeley, The California School for the Deaf, the New York City Museum, and the Oakland Museum, where in 1989, a retrospective of his work was shown. He was also a member of numerous clubs, including The Bohemian Club of San Francisco, the California Art Club, The Laguna Beach Art Association, and the San Francisco Art Association.

Granville Redmond died on May 24, 1935 in Los Angeles.

Source:
Edan Hughes, Artists in California, 1786-1940
Michael David Zellman, 300 Years of American Art
William Gerdts, “American Tonalism: An Artistic Overview”, Essay in The Poetic Vision: American Tonalism, pp. 15-27, Spanierman Galleries, LLC. 2005
Source: www.askart.com

  • TITLE: Italian Fisherman – Monterey
  • SIZE: 14″ X 18″
  • MEDIUM: Oil on Board
  • NOTES: A feast for the Eyes. The paintings of Seldon Connor Gile. A Retrospective Exhibition Civic Arts Gallery 1983

Train Cars with Grain

Tiburon Waterfront

Boats in Harbor

Blue Bridge in Marin

The major force behind the Society of Six in the 1920s in the Bay Area of California, Selden Gile set aesthetic standards that espoused color and guided the group with the strength of his personality, physical energy, and warm hospitality.

Departing from dominant decorative and Tonalist influences of Arthur Mathews and William Keith, the Society of Six created a new landscape art of sunny reality; it was Impressionism-Fauvism applied to the California Scene.  The other painters associated with Gile in this rebellion were Maurice Logan, William Clapp, Bernard von Eichman, August Gay, and Louis Siegriest.

Gile was born in Stow, Maine, to parents from Salem, England, and was named for Seldon Connor, Governor of Maine.  The family lived on a farm, but from childhood, he was regarded as different from his boisterous, carousing brothers because of his artistic talents and apparent refinement.  He completed high school in 1894 in Fryeburg and then lived with his brother Frank in Portland, Maine, where he attended Shaw’s Business College.  Frank was head chef at the landmark Lafayette Hotel in Portland and taught Gile cooking and convivial hosting, qualities that would later serve him well in California among his artist colleagues.

General Marshall Wentworth, owner of a hostelry in Jackson, New Hampshire, where Selden worked, took an interest in the young man and arranged a job as paymaster and clerk on a vast ranch in Rocklin, California, near Sacramento. Selden’s reasons for wanting to head West are unknown, but one of his brothers loaned him fifty dollars for the journey.  His job was dangerous, requiring him to deliver the payroll from the bank to the ranch, and he carried a gun which he sometimes used to defend himself.

He fell in love with Beryl Whitney, daughter of the ranch owners, and was deeply hurt when her parents, disapproving of the relationship, sent her away to Europe and she married another man.  From that time, he had an open aversion to women. In 1905, he moved to Oakland, California, and worked as a salesman of ceramic building materials for Gladding McBean whose products became crucial in the rebuilding of San Francisco after the earthquake.

He was basically self taught as an artist and with high energy and a sturdy build, had a capacity for long hiking trips and outdoor, plein-air painting that he pursued passionately.  Few of his early paintings of California survive, but most existing ones have barns, which became a repeated symbol in his work of the artist himself.

His talents as food and drink host and provider of lodging became legendary.  He shared his house with several aspiring artists and held dinners that he prepared with skill in what was described as an all-male, raucous atmosphere.  Friendship with writer Jack London underscored Gile’s seeking out of people that were creative, romantic, assertive, and working class.

With the Six, he exhibited regularly at the Oakland Art Gallery.  In 1927, he moved north to Tiburon across the Golden Gate Bridge and after that to a houseboat in Belvedere from where he continued to paint.  However, he also fell in with a heavy drinking crowd, which affected the quality of his work and caused him to fore-go his energetic plein-air painting treks.

Indicated by his painting, Desert Bridge, Holbrook, dated 1926, Gile traveled to Arizona where, according to author and gallery owner, Alfred Harrison, his subject was Holbrook, Arizona.   Several years later, according to Harrison, Gile was in Taos, New Mexico which resulted in his painting, Woman of Taos, dated 1931.  Further evidence of Gile being in Taos is his painting, Taos, New Mexico, dated 1924, which is in the collection of the Oakland Museum.

It is likely that Gile, who was Belvedere’s only WPA mural commission artist during the Depression years, was in Taos with fellow painter, Maurice Logan.  They returned to the Southwest in 1934 according to a front page column of the Oakland Tribune February 21 of that year.

On June 8, 1947, Selden Gile died from alcoholism and is buried at the cemetery at Mt. Tamalpais, a site he loved to paint.

Sources: 

Nancy Boas, Society of Six

Timothy Burgard, Ednah Root Curator of American Art (12/05/2006 email about Gile’s painting in NewMexico and Arizona)

Timothy Burgard and Alfred Harrison, “California Landscapes from the Willrich Collection”, American Art Review, 12/2006, p. 78

Michael and Genta Holmes, Art in the Residence of the American Ambassador, Australia (photo of Taos, New Mexico painting, 1924)

 

Source: www.askart.com

  • TITLE: Blue Bridge in Marin
  • SIZE: 12″ X 15.25″
  • MEDIUM: Oil on Board
  • NOTES: Estate Letter

Train Cars with Grain

Selden-Gile-image_Fisherman_secondary

Italian Fisherman – Monterey

Boats in Harbor

Tiburon Waterfront

The major force behind the Society of Six in the 1920s in the Bay Area of California, Selden Gile set aesthetic standards that espoused color and guided the group with the strength of his personality, physical energy, and warm hospitality.

Departing from dominant decorative and Tonalist influences of Arthur Mathews and William Keith, the Society of Six created a new landscape art of sunny reality; it was Impressionism-Fauvism applied to the California Scene.  The other painters associated with Gile in this rebellion were Maurice Logan, William Clapp, Bernard von Eichman, August Gay, and Louis Siegriest.

Gile was born in Stow, Maine, to parents from Salem, England, and was named for Seldon Connor, Governor of Maine.  The family lived on a farm, but from childhood, he was regarded as different from his boisterous, carousing brothers because of his artistic talents and apparent refinement.  He completed high school in 1894 in Fryeburg and then lived with his brother Frank in Portland, Maine, where he attended Shaw’s Business College.  Frank was head chef at the landmark Lafayette Hotel in Portland and taught Gile cooking and convivial hosting, qualities that would later serve him well in California among his artist colleagues.

General Marshall Wentworth, owner of a hostelry in Jackson, New Hampshire, where Selden worked, took an interest in the young man and arranged a job as paymaster and clerk on a vast ranch in Rocklin, California, near Sacramento. Selden’s reasons for wanting to head West are unknown, but one of his brothers loaned him fifty dollars for the journey.  His job was dangerous, requiring him to deliver the payroll from the bank to the ranch, and he carried a gun which he sometimes used to defend himself.

He fell in love with Beryl Whitney, daughter of the ranch owners, and was deeply hurt when her parents, disapproving of the relationship, sent her away to Europe and she married another man.  From that time, he had an open aversion to women. In 1905, he moved to Oakland, California, and worked as a salesman of ceramic building materials for Gladding McBean whose products became crucial in the rebuilding of San Francisco after the earthquake.

He was basically self taught as an artist and with high energy and a sturdy build, had a capacity for long hiking trips and outdoor, plein-air painting that he pursued passionately.  Few of his early paintings of California survive, but most existing ones have barns, which became a repeated symbol in his work of the artist himself.

His talents as food and drink host and provider of lodging became legendary.  He shared his house with several aspiring artists and held dinners that he prepared with skill in what was described as an all-male, raucous atmosphere.  Friendship with writer Jack London underscored Gile’s seeking out of people that were creative, romantic, assertive, and working class.

With the Six, he exhibited regularly at the Oakland Art Gallery.  In 1927, he moved north to Tiburon across the Golden Gate Bridge and after that to a houseboat in Belvedere from where he continued to paint.  However, he also fell in with a heavy drinking crowd, which affected the quality of his work and caused him to fore-go his energetic plein-air painting treks.

Indicated by his painting, Desert Bridge, Holbrook, dated 1926, Gile traveled to Arizona where, according to author and gallery owner, Alfred Harrison, his subject was Holbrook, Arizona.   Several years later, according to Harrison, Gile was in Taos, New Mexico which resulted in his painting, Woman of Taos, dated 1931.  Further evidence of Gile being in Taos is his painting, Taos, New Mexico, dated 1924, which is in the collection of the Oakland Museum.

It is likely that Gile, who was Belvedere’s only WPA mural commission artist during the Depression years, was in Taos with fellow painter, Maurice Logan.  They returned to the Southwest in 1934 according to a front page column of the Oakland Tribune February 21 of that year.

On June 8, 1947, Selden Gile died from alcoholism and is buried at the cemetery at Mt. Tamalpais, a site he loved to paint.

Sources: 

Nancy Boas, Society of Six

Timothy Burgard, Ednah Root Curator of American Art (12/05/2006 email about Gile’s painting in NewMexico and Arizona)

Timothy Burgard and Alfred Harrison, “California Landscapes from the Willrich Collection”, American Art Review, 12/2006, p. 78

Michael and Genta Holmes, Art in the Residence of the American Ambassador, Australia (photo of Taos, New Mexico painting, 1924)

 

Source: www.askart.com

    • TITLE: Boats in Harbor
    • SIZE: 8.75″ X 11.75″
    • MEDIUM: Watercolor on Paper

Tiburon Waterfront

Train Cars with Grain

Selden-Gile-image_Fisherman_secondary

Italian Fisherman – Monterey

Blue Bridge in Marin

The major force behind the Society of Six in the 1920s in the Bay Area of California, Selden Gile set aesthetic standards that espoused color and guided the group with the strength of his personality, physical energy, and warm hospitality.

Departing from dominant decorative and Tonalist influences of Arthur Mathews and William Keith, the Society of Six created a new landscape art of sunny reality; it was Impressionism-Fauvism applied to the California Scene.  The other painters associated with Gile in this rebellion were Maurice Logan, William Clapp, Bernard von Eichman, August Gay, and Louis Siegriest.

Gile was born in Stow, Maine, to parents from Salem, England, and was named for Seldon Connor, Governor of Maine.  The family lived on a farm, but from childhood, he was regarded as different from his boisterous, carousing brothers because of his artistic talents and apparent refinement.  He completed high school in 1894 in Fryeburg and then lived with his brother Frank in Portland, Maine, where he attended Shaw’s Business College.  Frank was head chef at the landmark Lafayette Hotel in Portland and taught Gile cooking and convivial hosting, qualities that would later serve him well in California among his artist colleagues.

General Marshall Wentworth, owner of a hostelry in Jackson, New Hampshire, where Selden worked, took an interest in the young man and arranged a job as paymaster and clerk on a vast ranch in Rocklin, California, near Sacramento. Selden’s reasons for wanting to head West are unknown, but one of his brothers loaned him fifty dollars for the journey.  His job was dangerous, requiring him to deliver the payroll from the bank to the ranch, and he carried a gun which he sometimes used to defend himself.

He fell in love with Beryl Whitney, daughter of the ranch owners, and was deeply hurt when her parents, disapproving of the relationship, sent her away to Europe and she married another man.  From that time, he had an open aversion to women. In 1905, he moved to Oakland, California, and worked as a salesman of ceramic building materials for Gladding McBean whose products became crucial in the rebuilding of San Francisco after the earthquake.

He was basically self taught as an artist and with high energy and a sturdy build, had a capacity for long hiking trips and outdoor, plein-air painting that he pursued passionately.  Few of his early paintings of California survive, but most existing ones have barns, which became a repeated symbol in his work of the artist himself.

His talents as food and drink host and provider of lodging became legendary.  He shared his house with several aspiring artists and held dinners that he prepared with skill in what was described as an all-male, raucous atmosphere.  Friendship with writer Jack London underscored Gile’s seeking out of people that were creative, romantic, assertive, and working class.

With the Six, he exhibited regularly at the Oakland Art Gallery.  In 1927, he moved north to Tiburon across the Golden Gate Bridge and after that to a houseboat in Belvedere from where he continued to paint.  However, he also fell in with a heavy drinking crowd, which affected the quality of his work and caused him to fore-go his energetic plein-air painting treks.

Indicated by his painting, Desert Bridge, Holbrook, dated 1926, Gile traveled to Arizona where, according to author and gallery owner, Alfred Harrison, his subject was Holbrook, Arizona.   Several years later, according to Harrison, Gile was in Taos, New Mexico which resulted in his painting, Woman of Taos, dated 1931.  Further evidence of Gile being in Taos is his painting, Taos, New Mexico, dated 1924, which is in the collection of the Oakland Museum.

It is likely that Gile, who was Belvedere’s only WPA mural commission artist during the Depression years, was in Taos with fellow painter, Maurice Logan.  They returned to the Southwest in 1934 according to a front page column of the Oakland Tribune February 21 of that year.

On June 8, 1947, Selden Gile died from alcoholism and is buried at the cemetery at Mt. Tamalpais, a site he loved to paint.

Sources: 

Nancy Boas, Society of Six

Timothy Burgard, Ednah Root Curator of American Art (12/05/2006 email about Gile’s painting in NewMexico and Arizona)

Timothy Burgard and Alfred Harrison, “California Landscapes from the Willrich Collection”, American Art Review, 12/2006, p. 78

Michael and Genta Holmes, Art in the Residence of the American Ambassador, Australia (photo of Taos, New Mexico painting, 1924)

 

Source: www.askart.com

  • TITLE: Umbrella on Beach
  • SIZE: 15″ X 18″
  • MEDIUM: Oil on Board
  • SIGNED: Lower Right

Woman on Beach with Umbrella

A man who earned a prestigious reputation in Canada and the United States, William Henry Clapp was a painter and etcher of modernist styles ranging from Impressionism to Fauvism to Pointillism.

He was born in Montreal and moved to Oakland, California with his family in 1885 and lived there through his childhood until the early 1900s when the family returned to Montreal. His only sister died when she was age seventeen from tuberculosis, and he was so deeply affected he continued to live with his parents until their deaths.

He studied at the Montreal Art Association School with William Brymmer, the foremost teacher of the city, who, in turn, encouraged his students to study in Paris. Clapps’s good friend was Clarence Gagnon, who later became a well-known expatriate painter, and they took numerous plein-air painting trips together. This experience was the first time Clapp had worked with humble, rural subjects instead of romanticized and grandiose academic subjects.

In 1904, he went to Paris with Gagnon and several other Montreal artists and fell so much under the influence of Claude Monet that some artists accused him of copying the Impressionist too closely. He was also exposed to the cutting edge of modernist movements represented by Picasso, Cezanne, and Gaughin who, among others, were just beginning to exhibit. However, his studies at the Ecole des Beaux Arts and the Academie Julian were quite a contrast to these influences because the curriculum was based on old-guard methods with emphasis on classical subjects and traditional methods.

But Impressionism held the most sway over him, and returning to Montreal he was part of a group of progressive artists that changed the art of that city, and he was later credited as being one of the most significant influences. Between 1906 and 1909, he also painted in Belgium and Spain, whose sunshine had the effect of lightening his palette.

Clapp became a member of the Canadian Art Club in 1912, an exclusive society of those with the most “sophisticated” and avant-garde levels of artistic taste. During this time, he was highly productive completing many impressionist-style paintings. He encouraged experimentation in other artists and was active in 1913 in the Thirtieth Spring Exhibition of the Art Association of Montreal, which, like the Armory Show in New York, shocked the public with exhibits of modernism.

In 1915, Clapp followed his family to Cuba, where his father bought a pineapple plantation, and he sent many scenes of Cuba back to Montreal. However, a hurricane destroyed the plantation, and the family then moved to Piedmont, California where Clapp, shortly after his arrival at the age of thirty-eight, became Director of the Oakland Art Gallery from 1918 to 1949. Throughout these years, he was an aggressive force for modernism and experimentation.

As Gallery Director, he became associated with and arranged exhibitions for the Society of Six led by Seldon Gile. This group of artists banded together to create a modernist style that was uniquely about California and was a rebellion against the dominance of traditional painters Arthur Mathews and William Keith who espoused decorative and tonalist styles.

He also ran the Clapp School of Art in Oakland and had several exhibitions of his monotypes. In 1933, he married Gertrude Schroder, Secretary of the Oakland Gallery.

He was a member of the California Art Club, the Oakland Art League, and the San Francisco Art Association. His works are held in numerous institutions including the Canadian National Gallery and the Oakland Museum. He died of cancer on April 21, 1954.

Source:
Nancy Boas, “Society of Six”
Edan Hughes, “Artists in California, 1786-1940”

 

Source: www.askart.com

  • TITLE: Pewter Water Pot
  • SIZE: 6.5″ X 10.5″
  • MEDIUM: Oil on Wood
  • SIGNED: Initialed

Pot and Shovel

Terracotta Potts

Axton was born in Fort Leavenworth, Kansas on June 28, 1922.  Raised and educated on Army posts in various parts of the U.S.  Studied at the Georgia School of Technology, earned a BFA at the Kansas City Art Institute and School of Design (Missouri) in 1951, and a MFA from the Yale Univ. School of Fine Art in 1954 where he studied with Joseph Albers, Ad Reinhardt and Stuart Davis.

His early work was comprised of detailed abstract designs and patterns which comprised the whole.  Later his paintings concentrated on the details of realism, incorporating historical artifacts, primarily from the Southwest.  Taught design at the University of California, Berkeley in 1966.

Exhibitions: California Palace of the Legion of Honor, 1964; San Francisco Museum of Art, 1965.

John Thomas Axton III died September 4, 2009 at his home in Dolores Heights, San Francisco, California.

SourceSan Francisco Chronicle (October 2, 2009)

SOURCES:
Susan Craig, “Biographical Dictionary of Kansas Artists (active before 1945)”
Who’s Who in American Art. New York: American Federation of Arts, 1936-1970; Falk, Peter, Ed. Who Was Who in American Art 1564-1975: 400 Years of Artists in America. Madison, CT: Sound View Press, c1999. 3v.; //www.totalartsgallery.com/artist/John_Axton.html, accessed June 11, 2008.

This and over 1,750 other biographies can be found in Biographical Dictionary of Kansas Artists (active before 1945) compiled by Susan V. Craig, Art & Architecture Librarian at University of Kansas.

 

Source: www.askart.com

  • TITLE: Terracotta Potts
  • SIZE: 9.5″ X 15″
  • MEDIUM: Oil on Wood
  • SIGNED: Initialed

Pot and Shovel

Pewter Water Pot

Axton was born in Fort Leavenworth, Kansas on June 28, 1922.  Raised and educated on Army posts in various parts of the U.S.  Studied at the Georgia School of Technology, earned a BFA at the Kansas City Art Institute and School of Design (Missouri) in 1951, and a MFA from the Yale Univ. School of Fine Art in 1954 where he studied with Joseph Albers, Ad Reinhardt and Stuart Davis.

His early work was comprised of detailed abstract designs and patterns which comprised the whole.  Later his paintings concentrated on the details of realism, incorporating historical artifacts, primarily from the Southwest.  Taught design at the University of California, Berkeley in 1966.

Exhibitions: California Palace of the Legion of Honor, 1964; San Francisco Museum of Art, 1965.

John Thomas Axton III died September 4, 2009 at his home in Dolores Heights, San Francisco, California.

SourceSan Francisco Chronicle (October 2, 2009)

SOURCES:
Susan Craig, “Biographical Dictionary of Kansas Artists (active before 1945)”
Who’s Who in American Art. New York: American Federation of Arts, 1936-1970; Falk, Peter, Ed. Who Was Who in American Art 1564-1975: 400 Years of Artists in America. Madison, CT: Sound View Press, c1999. 3v.; //www.totalartsgallery.com/artist/John_Axton.html, accessed June 11, 2008.

This and over 1,750 other biographies can be found in Biographical Dictionary of Kansas Artists (active before 1945) compiled by Susan V. Craig, Art & Architecture Librarian at University of Kansas.

 

Source: www.askart.com

  • TITLE: Montezuma’s Castle
  • SIZE: 21″ X 26″
  • MEDIUM: Oil on Canvas
  • SIGNED: Lower Right

Near Kingman

Charles Garfield Tracy was married to Rhea Lucille Snow (1896-1976) from April 10, 1918 in Farmington, Utah, until his death, September 11, 1955 in Arcadia, California. When they married she was a resident of Utah, having lived to age five in a Ladder Day Saint’s family commune at Beehive House.  It had been built in 1854 near the Salt Lake City Mormon Temple to accommodate LDS founder, President and polygamist, Brigham Young and his wives and children. Rhea lived there the first five years of her life because it was the official home of her father, Lorenzo Snow (1814-1901), the Fourth LDS President since Young’s death in 1877. Rhea’s mother was Sara Minnie Jensen Snow (1855-1908), and she and Lorenzo had nine children. Rhea became the youngest and last surviving of Lorenzo Snow’s six wives and 42 children.

In adulthood Rhea became an actress in vaudeville and motion pictures, wrote scenarios and radio plays, taught drama, authored several books and many poems and later as a widow and resident of Utah, served in California on behalf of the Indian Affairs Committee. She is buried in Brigham City Cemetery in Brigham City, Utah.

In 1919, Charles and Rhea Tracy had a daughter, Mauvia Snow, born in Salt Lake City, who became a highly respected health professional in the San Francisco area and also remained a member of the LDS Church. A second daughter, Norlyn Snow, was born to Charles and Rhea in 1922 in Manhattan Beach, California. This daughter became a noted public speaker for the LDS Church, and in her obituary it was written: “Her father was Charles Garfield Tracy, a motion picture director, experienced vaudeville actor and renowned artist.” This description would suggest that Charles and Rhea Snow Tracy met when both were active in theatre.

Sources:
“Rhea Lucille Snow Tracy”, Find A Grave Memorial, # 14400255,
//www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=14400255

“Beehive House”, Wikipedia, //en.wikipedia.org/wiki/Beehive_House

“Mauvia Snow”, Find A Grave Memorial, # 91098070,
//www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=91098070

Norlyn Snow Tracy Torres
Published in the Deseret News on May 6, 2011.
//www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=69387230

“Lorenzo Snow”, Wikipedia,  //en.wikipedia.org/wiki/Lorenzo_Snow

 

Source: www.askart.com