Lisa N. Peters

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 »