Art, Nature, and the American City, 1840-1955 at the Clay Center, Charleston, West Virginia

David Johnson - Landscape (White Mansion in the Distance), 1863

David Johnson, "Landscape (White Mansion in the Distance)," 1863, oil on canvas, 18 x 28 inches

Lisa N. Peters

Last year the Collector’s Club of the Clay Center for the Arts and Sciences of West Virginia (Charleston) visited the gallery and a lively dialogue ensued as members considered possible acquisitions with the gallery’s associate director Gina Greer.   This interchange was the impetus for Art, Nature, and the American City, 1840-1955, an exhibition the gallery has lent to the Clay Center that opened July 16 and will remain on view through October 10.

Including over eighty paintings and works on paper, the show raises many fascinating questions with regard to attitudes, as manifested through art, about the American city and countryside. Read the rest of this entry »

A Lost Record Brought to Life, Dinner at the Salmagundi Club, 1908

Lisa N. Peters

Salmagundi Club Dinner Menu

1908 Dinner Menu, Salmagundi Club, from the Spanierman Gallery, LLC, Charles Warren Eaton Archive

Our recent show of the work of Charles Warren Eaton led us to notice an archival storage box on a high shelf in our library that was catalogued under the artist’s name at some point in the past and then forgotten. It contained what scholars always wish for: a number of primary source materials that had never received scrutiny. Among them was the ledger book in the artist’s hand, from which we made many discoveries—one reported on this blog earlier. We also found an eight-page booklet measuring 10 x 6-3/8 inches with the title: Testimonial Dinner given to Mr. A. T. Van Laer by his friends in the Salmagundi Club, over whom he has long presided. Inside the booklet was a photograph of Van Laer, a photograph of one of his landscapes with his signature below it, and the menu for the dinner, which included fried perch, paté of sweetbread, roast Long Island duck, and strawberry ice cream. What was remarkable about this find was not the booklet itself, but that the plain brown coversheet that enclosed it, and two inside pages, contained original signatures of those who attended the dinner, a group of artists, collectors, and dealers that included a great number of important figures of the time. Bob Mueller, chairman of the curator committee at the Salmagundi Club, which since it was established in 1871 has been a gathering place for artists that also offers art classes and holds exhibitions, reported that a copy of the booklet exists at the club, but without the signatures and without a record of those who attended. Read the rest of this entry »

Research in Progress: Eaton Detective Work Brings Results!

Charles Warren Eaton, "La Nuit (The Night)," oil on canvas, 35 1/2 x 44 1/2 inches, signed and dated lower left: "Chas. Warren Eaton 1911"

Charles Warren Eaton, "La Nuit (The Night)," oil on canvas, 35 1/2 x 44 1/2 inches, signed and dated lower left: "Chas. Warren Eaton 1911"

Lisa N. Peters

Among the rewards of working in the gallery are the discoveries made in the course of research. These often occur in the process of organizing exhibitions, when works included receive more scrutiny than they would otherwise.  Such sleuth work invariably involves several of us, as was the case when a new painting by Charles Warren Eaton arrived for our current show, fresh from the large holdings of Eaton’s art that belong to the granddaughter of the artist Samuel Foster, who had become close to Eaton during Eaton’s youth in Albany, New York.  

The painting hung quietly in the owner’s front foyer for decades.  Large in size for Eaton, and including the dark silhouettes of lonely pine trees set against a nocturnal landscape lit by the glimmer of moonlight that constitute Eaton’s signature statement, the painting (which came to us untitled and seemingly undated) struck us as one that the artist might have used to represent himself in an important venue.   Read the rest of this entry »

Branching Out (Literally): Paintings by Charles Warren Eaton

Lisa N. Peters

Eaton photo

Charles Warren Eaton, photograph from "Centennial Anniversary of 'The Pine Tree Artist,'" "East Orange Record," March 14, 1957.

American landscape painters at the turn of the twentieth century are usually divided into those who followed in the mode of the French Impressionists and those who adhered to the style known as American Tonalism.  The chance to see the differences in these approaches is made possible by the exhibition opening at the gallery on December 8, which pairs the art of Charles Warren Eaton (1857-1937), who worked in a Tonalist idiom, with that of Robert Emmett Owen (1878-1957), who used an Impressionist method.  At the same time, in the example of these two artists, the exhibition demonstrates the ways in which American artists often crossed over between the two styles and found their own voices in response to their subjects.

Eaton, who was twenty-one years younger than Owen, held a deep admiration for the work of George Inness, and was among few of Inness’s many followers to develop a personal relationship with this artist who is generally considered the progenitor of Tonalism.  Apparently Inness returned the appreciation, as he stopped in Eaton’s studio one day, and finding the younger artist out, came back the next day to buy one of Eaton’s paintings.  For a time, Eaton even shared his studio with Inness in Montclair, New Jersey. Eaton was also part of a community of Inness disciples in Bloomfield, New Jersey. Read the rest of this entry »

Autumn Landscape: The Tonalist and Impressionist Point of View


John Francis Murphy
Autumnal Landscape
(possibly Arkville, NY), 1898
Carol Lowrey

My recent blog on Emile Gruppé’s Vermont scenes (coupled with a pleasant drive upstate), has prompted some further musings on autumn landscapes by American painters. However, this time, I’m going slightly back in time to peruse some Tonalist and Impressionist pictures from the late nineteenth and early twentieth centuries.

Charles Warren Eaton
November, Montclair, ca. 1890s
The writer George Eliot described autumn as a “delicious” time of year and rightly so, in view of its colorful foliage and golden atmosphere, which appealed to artists with a love of nature and an intuitive approach to painting. This was certainly true of J. Francis Murphy (1853-1921), Charles Warren Eaton (1857-1937) and Bruce Crane (1857-1937) , who were associated with Tonalism, a very suggestive mode of painting that became fashionable during the 1880s. Preoccupied with conveying mood, Tonalists liked autumn because it was a transitional time of year––a much more poetic season than summer. Painted at contemplative times of day such as dawn and dusk and in varying types of weather, their fall landscapes typically feature isolated rural locales which they depicted with a limited palette of harmonious colors and with expressive brushwork that made forms blurry and indistinct––an approach that imbued their work with a gentle lyricism and a feeling of relaxation. I’m not at all surprised that Tonalist landscapes found their way into the parlors and dining rooms of contemporary collectors such as William T. Evans and George Hearn, providing them with a welcome visual refuge from their harried lives in the New York business world. Read the rest of this entry »
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