The “Flying Pencil Point” of George B. Luks

George B. Luks - Figure Study, Paris

George B. Luks (1867-1933), "Figure Study, Paris," 1900-10, charcoal and graphite on paper, 6 1/2 x 4 1/4 inches

Carol Lowrey

According to his friend and fellow artist Everett Shinn, George B. Luks (1867-1933) drew incessantly.  If his sketchbook wasn’t handy, he would draw on all types of surfaces, whether it be a scrap of paper, a tablecloth, or a napkin; as Shinn put it, he “chuckled as he worked, winked and drew an audience about his flying pencil point.”  Spanierman Gallery’s recent exhibition of works on paper includes two examples of Luks’s drawings––which attracted as much attention as the vigorously rendered oils that contributed to his reputation as a leading member of New York’s Ashcan School and an important American Realist.
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Edward Moran: Seeing Paris in a Different Light

Edward Moran - Notre Dame de Paris

Edward Moran (1829-1901), "Notre Dame de Paris," ca. 1878, oil on canvas, 36 x 27 inches

Carol Lowrey

When we think of the numerous American painters who responded to the beauty of Paris, names of impressionists such as Childe Hassam and John Singer Sargent immediately come to mind.  Thus, I was pleasantly surprised when one of my assignments for the gallery involved writing an essay on Edward Moran’s Notre Dame de Paris (left). Why such enthusiasm (aside from my being an avid Francophile)?  Well, you just don’t see too many Parisian pictures by Moran (1829-1901), a realist painter and the eldest member of a famous family of artists that included his brothers Thomas (1837-1926) and Peter (1841-1914).  A notable figure on the New York art scene during the late nineteenth century, Moran is best known for his seascapes, ranging from lonely coastal scenes to representations of New York harbor.  His work was exhibited at venues such as the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, attracting a steady stream of patronage from affluent collectors and acclaim from contemporary critics, who admired his ability to convey mood, light and atmosphere. Read the rest of this entry »

Elizabeth Nourse: An Expatriate in Paris

Elizabeth Nourse - View of the Luxembourg Gardens, Paris

Elizabeth Nourse (1859-1938) "View of the Luxembourg Gardens, Paris," ca. 1905, watercolor and charcoal on paper laid on board, 16 x 12 1/2 in.

Carol Lowrey

In 2008, Spanierman Gallery published a catalogue featuring a selection of works on paper from the gallery’s holdings.  As a contributor, my assignments included writing an essay on Elizabeth Nourse’s View of the Luxembourg Gardens, Paris, a watercolor executed around 1905 when the artist was residing in a fourth-floor apartment at 80, rue d’Assas (pictured below), in the 6th Arrondissement.  For those of you not familiar with Nourse, she was born in Mount Healthy, a suburb of Cincinnati.  After attending art schools in the United States, she moved to Paris in 1887, studying briefly at the Académie Julian before being advised by her teacher, Gustave Boulanger, that she was so well ahead of others in the women’s class that she could better develop her skills on her own.  Nourse went on to paint intimate depictions of French and Dutch peasants, as well as portraits, flowers, landscapes and cityscapes, alternating between an academic realist manner and a looser, impressionist style depending on her subject.  She thrived in the French capital, distinguishing herself by becoming the first American woman elected an associate member of the recently established Société Nationale des Beaux-Arts (1895).  On the occasion of her death, a writer for the New York Times (10 October 1938) deemed her “one of the most distinguished artists in the American colony in Paris.” Read the rest of this entry »

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