Three Gen­er­a­tions

Somerville Manning’s an­nual Amer­i­can Masters show spans the life of three Wyeths

American Fine Art Magazine - - My View -

Somerville Manning’s an­nual Amer­i­can Masters show spans the life of three Wyeths

Every year, Somerville Manning Gallery in Greenville, Delaware, puts on a show of “Amer­i­can Masters.” this year, the ti­tle of the exhibition is Wyeth to Warhol: Modern Masters from Past and Present. vickie Manning, owner of Somerville Manning Gallery, ex­plains,“the ba­sis for the theme is the three gen­er­a­tions of the Wyeth fam­ily: N.C., An­drew and Jamie.the goal is to in­clude work from them, put into con­text by ev­ery­thing else that was go­ing on in the art world in dur­ing those gen­er­a­tions.”

From N. c. wyeth, Ethan Allen, Fore­run­ner of In­de­pen­dence will be on view. It was ini­tially used as an ad­ver­tis­ing im­age for Dixon Ti­con­deroga pen­cils, and later ap­peared in The Satur­day Evening

Post and was re­pro­duced as a poster. “It’s a clas­sic N.C., and it’s also clas­sic Amer­i­can his­tory,” notes Manning.

“It’s large and dra­matic, but fun at the same time.”

In Jane Peter­son’s The Flap­per, a young woman ex­am­ines her­self in a mir­ror.the 1929 oil is an ex­am­ple of Peter­son’s more mod­ernist work, with its tightly struc­tured com­po­si­tion. with the sit­ter’s dress and sur­round­ings done in muted greens and whites, her red hair and ex­trav­a­gant yel­low hat be­come the fo­cal point of the paint­ing.

One of the ear­lier ex­am­ples in the show comes from Childe Has­sam.

His Summer Af­ter­noon, ap­ple dore was com­pleted in the mid-1890s. Has­sam of­ten trav­eled to Ap­ple­dore, part of the Isle of Shoals off the coast of New Hamp­shire, where he found in­spi­ra­tion in the garden of poet, hor­ti­cul­tur­al­ist and or­nithol­o­gist Celia Thax­ter.“she was an in­ter­est­ing fig­ure, and they had a re­ally lovely con­nec­tion,” Manning says. Summer Af­ter­noon, ap­ple­dore de­picts the is­land’s rocky coast.

From Ab­bott Fuller Graves comes the Bos­ton School paint­ing In the

Garden. A life­long friend of Has­sam, Graves was par­tic­u­larly well known for his floral and garden works. In the Garden was likely painted in plein air—an ap­proach that he adopted while living in Paris in the early 20th cen­tury—and de­picts a woman sit­ting among the flow­ers on a sunny day.

Wyeth to Warhol also includes work from the mid- to late 20th cen­tury, in­clud­ing An­drew Wyeth’s 1958 water­color Dry Well (Rain Bar­rel) and Andy Warhol’s 1983 Valen­tine’s Heart Ad (Heart Fund). Con­tem­po­rary artists in­clud­ing Bo Bartlett, David Hock­ney and Wolf Kahn will also be rep­re­sented. Wyeth to Warhol opens April 27 at Somerville Manning Gallery and re­mains on view through June 2.

Jane Peter­son (1876-1965), The Flap­per, ca. 1929. Oil on can­vas, 30 x 24 in.

Ab­bott Fuller Graves (1859-1936), In the Garden, ca. 1910s. Oil on board, 14¼ x 177/8 in.

Al­fred Henry Mau­rer (1868-1932), Flow­ers in White Pitcher, 1926-8. Water­color and gouache on pa­per, 227/8 x 181/8 in.

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