العودة

N.C. WYETH (1882-1945)

 
Emerging at the end of the Gilded Age, N.C. Wyeth was one of the most important American artists and illustrators. His paintings and illustrations brought life to classic literature from Treasure Island to The Boy’s King Arthur and more. He is most remembered for his ability to capture crucial moments in narratives, fleshing out just a few words into a visual representation of deep drama and tension. Patriarch of the Wyeth artistic dynasty which includes his son Andrew and grandson Jamie, his influence touched future illustrators and artists.<br><br>Perhaps his most important legacy is how he shaped American imagination – of America itself and of wild possibilities. Wyeth’s powerful paintings gave life to many of the stories America told of itself. His early paintings captured life of the American West and some of his most beloved illustrations were for novels such as The Last of the Mohicans or short stories like “Rip Van Winkle”. Despite this success, Wyeth struggled with the commercialism of illustrations and advertisements, seeking his work to be accepted as fine art. Throughout his career, he experimented with different styles shifting from Impressionism to Divisionism to Regionalism.<br><br>N.C. Wyeth produced over 3,000 paintings and illustrated 112 books. His illustrations for the publisher Charles Scribner’s Sons were so popular they became known as Scribner’s Classics and remain in print to this day.<br><br>This quietly powerful painting of a Native American forms part of a quartet of paintings, inspired by and a metaphor for the four seasons. The paintings were used to illustrate George T. Marsh’s set of poems “The Moods”. Wyeth recognized that the series came at a crucial moment in his career in which the paintings go beyond realism to capture atmosphere and mood, an internal world of emotion made external. He even contemplated and attempted to write his own poems based on these paintings.<br> <br><br>Summer, Hush is a striking example of Wyeth pulling from his imagination and melding it with careful observation of nature. As noted in a letter to his mother, Wyeth combined the fictional subject with natural effects as in the sky. Native Americans were a subject he returned to numerous times; these paintings reflect not only Wyeth’s fascination but also of America. As observed by art historian Krstine Ronan, Wyeth was part of a larger dialogue that developed around Native Americans, cementing a general Native American culture in the imagination of the United States. Thus, the painting operates on numerous levels simultaneously. How do we relate to this painting and its conception of the four seasons? How do we interpret Wyeth’s depiction of a Native American? What role do Native Americans play in America’s imagination?<br><br>We must also not forget that these works were first used to illustrate the poems of George T. Marsh. Marsh, a poet born in New York who often also wrote of the Canadian wilderness, provides subtle evocations of the seasons hinted at in the series title “The Moods”. This painting was used alongside “Hush,” which ends:<br><br>Are they runes of summers perished<br><br>That the fisher hears –and ceases—<br><br>Or the voice of one he cherished.<br><br>Within these few lines, Wyeth gives us a thoughtful and restrained painting that stirs from within. The poem and the painting avoid obvious clichés to represent the seasons. They develop a profound interpretation filled with sensitivity.<br><br>These paintings were important to Wyeth who hoped that “they may suggest to some architect the idea that such decorations would be appropriate in a library or capitol or some public building.” Summer, Hush demonstrates Wyeth’s control of color and composition so that small touches such as the ripples of water or the towering cloud that envelopes the figure are in service to sketch out the feeling of summer and of the poem. Through exploring this rich and complex painting, we are better able to appreciate NC Wyeth as an artist and the role this specific painting plays in the context of art history. Emerging at the end of the Gilded Age, N.C. Wyeth was one of the most important American artists and illustrators. His paintings and illustrations brought life to classic literature from Treasure Island to The Boy’s King Arthur and more. He is most remembered for his ability to capture crucial moments in narratives, fleshing out just a few words into a visual representation of deep drama and tension. Patriarch of the Wyeth artistic dynasty which includes his son Andrew and grandson Jamie, his influence touched future illustrators and artists.<br><br>Perhaps his most important legacy is how he shaped American imagination – of America itself and of wild possibilities. Wyeth’s powerful paintings gave life to many of the stories America told of itself. His early paintings captured life of the American West and some of his most beloved illustrations were for novels such as The Last of the Mohicans or short stories like “Rip Van Winkle”. Despite this success, Wyeth struggled with the commercialism of illustrations and advertisements, seeking his work to be accepted as fine art. Throughout his career, he experimented with different styles shifting from Impressionism to Divisionism to Regionalism.<br><br>N.C. Wyeth produced over 3,000 paintings and illustrated 112 books. His illustrations for the publisher Charles Scribner’s Sons were so popular they became known as Scribner’s Classics and remain in print to this day.<br><br>This quietly powerful painting of a Native American forms part of a quartet of paintings, inspired by and a metaphor for the four seasons. The paintings were used to illustrate George T. Marsh’s set of poems “The Moods”. Wyeth recognized that the series came at a crucial moment in his career in which the paintings go beyond realism to capture atmosphere and mood, an internal world of emotion made external. He even contemplated and attempted to write his own poems based on these paintings.<br> <br><br>Summer, Hush is a striking example of Wyeth pulling from his imagination and melding it with careful observation of nature. As noted in a letter to his mother, Wyeth combined the fictional subject with natural effects as in the sky. Native Americans were a subject he returned to numerous times; these paintings reflect not only Wyeth’s fascination but also of America. As observed by art historian Krstine Ronan, Wyeth was part of a larger dialogue that developed around Native Americans, cementing a general Native American culture in the imagination of the United States. Thus, the painting operates on numerous levels simultaneously. How do we relate to this painting and its conception of the four seasons? How do we interpret Wyeth’s depiction of a Native American? What role do Native Americans play in America’s imagination?<br><br>We must also not forget that these works were first used to illustrate the poems of George T. Marsh. Marsh, a poet born in New York who often also wrote of the Canadian wilderness, provides subtle evocations of the seasons hinted at in the series title “The Moods”. This painting was used alongside “Hush,” which ends:<br><br>Are they runes of summers perished<br><br>That the fisher hears –and ceases—<br><br>Or the voice of one he cherished.<br><br>Within these few lines, Wyeth gives us a thoughtful and restrained painting that stirs from within. The poem and the painting avoid obvious clichés to represent the seasons. They develop a profound interpretation filled with sensitivity.<br><br>These paintings were important to Wyeth who hoped that “they may suggest to some architect the idea that such decorations would be appropriate in a library or capitol or some public building.” Summer, Hush demonstrates Wyeth’s control of color and composition so that small touches such as the ripples of water or the towering cloud that envelopes the figure are in service to sketch out the feeling of summer and of the poem. Through exploring this rich and complex painting, we are better able to appreciate NC Wyeth as an artist and the role this specific painting plays in the context of art history. Emerging at the end of the Gilded Age, N.C. Wyeth was one of the most important American artists and illustrators. His paintings and illustrations brought life to classic literature from Treasure Island to The Boy’s King Arthur and more. He is most remembered for his ability to capture crucial moments in narratives, fleshing out just a few words into a visual representation of deep drama and tension. Patriarch of the Wyeth artistic dynasty which includes his son Andrew and grandson Jamie, his influence touched future illustrators and artists.<br><br>Perhaps his most important legacy is how he shaped American imagination – of America itself and of wild possibilities. Wyeth’s powerful paintings gave life to many of the stories America told of itself. His early paintings captured life of the American West and some of his most beloved illustrations were for novels such as The Last of the Mohicans or short stories like “Rip Van Winkle”. Despite this success, Wyeth struggled with the commercialism of illustrations and advertisements, seeking his work to be accepted as fine art. Throughout his career, he experimented with different styles shifting from Impressionism to Divisionism to Regionalism.<br><br>N.C. Wyeth produced over 3,000 paintings and illustrated 112 books. His illustrations for the publisher Charles Scribner’s Sons were so popular they became known as Scribner’s Classics and remain in print to this day.<br><br>This quietly powerful painting of a Native American forms part of a quartet of paintings, inspired by and a metaphor for the four seasons. The paintings were used to illustrate George T. Marsh’s set of poems “The Moods”. Wyeth recognized that the series came at a crucial moment in his career in which the paintings go beyond realism to capture atmosphere and mood, an internal world of emotion made external. He even contemplated and attempted to write his own poems based on these paintings.<br> <br><br>Summer, Hush is a striking example of Wyeth pulling from his imagination and melding it with careful observation of nature. As noted in a letter to his mother, Wyeth combined the fictional subject with natural effects as in the sky. Native Americans were a subject he returned to numerous times; these paintings reflect not only Wyeth’s fascination but also of America. As observed by art historian Krstine Ronan, Wyeth was part of a larger dialogue that developed around Native Americans, cementing a general Native American culture in the imagination of the United States. Thus, the painting operates on numerous levels simultaneously. How do we relate to this painting and its conception of the four seasons? How do we interpret Wyeth’s depiction of a Native American? What role do Native Americans play in America’s imagination?<br><br>We must also not forget that these works were first used to illustrate the poems of George T. Marsh. Marsh, a poet born in New York who often also wrote of the Canadian wilderness, provides subtle evocations of the seasons hinted at in the series title “The Moods”. This painting was used alongside “Hush,” which ends:<br><br>Are they runes of summers perished<br><br>That the fisher hears –and ceases—<br><br>Or the voice of one he cherished.<br><br>Within these few lines, Wyeth gives us a thoughtful and restrained painting that stirs from within. The poem and the painting avoid obvious clichés to represent the seasons. They develop a profound interpretation filled with sensitivity.<br><br>These paintings were important to Wyeth who hoped that “they may suggest to some architect the idea that such decorations would be appropriate in a library or capitol or some public building.” Summer, Hush demonstrates Wyeth’s control of color and composition so that small touches such as the ripples of water or the towering cloud that envelopes the figure are in service to sketch out the feeling of summer and of the poem. Through exploring this rich and complex painting, we are better able to appreciate NC Wyeth as an artist and the role this specific painting plays in the context of art history. Emerging at the end of the Gilded Age, N.C. Wyeth was one of the most important American artists and illustrators. His paintings and illustrations brought life to classic literature from Treasure Island to The Boy’s King Arthur and more. He is most remembered for his ability to capture crucial moments in narratives, fleshing out just a few words into a visual representation of deep drama and tension. Patriarch of the Wyeth artistic dynasty which includes his son Andrew and grandson Jamie, his influence touched future illustrators and artists.<br><br>Perhaps his most important legacy is how he shaped American imagination – of America itself and of wild possibilities. Wyeth’s powerful paintings gave life to many of the stories America told of itself. His early paintings captured life of the American West and some of his most beloved illustrations were for novels such as The Last of the Mohicans or short stories like “Rip Van Winkle”. Despite this success, Wyeth struggled with the commercialism of illustrations and advertisements, seeking his work to be accepted as fine art. Throughout his career, he experimented with different styles shifting from Impressionism to Divisionism to Regionalism.<br><br>N.C. Wyeth produced over 3,000 paintings and illustrated 112 books. His illustrations for the publisher Charles Scribner’s Sons were so popular they became known as Scribner’s Classics and remain in print to this day.<br><br>This quietly powerful painting of a Native American forms part of a quartet of paintings, inspired by and a metaphor for the four seasons. The paintings were used to illustrate George T. Marsh’s set of poems “The Moods”. Wyeth recognized that the series came at a crucial moment in his career in which the paintings go beyond realism to capture atmosphere and mood, an internal world of emotion made external. He even contemplated and attempted to write his own poems based on these paintings.<br> <br><br>Summer, Hush is a striking example of Wyeth pulling from his imagination and melding it with careful observation of nature. As noted in a letter to his mother, Wyeth combined the fictional subject with natural effects as in the sky. Native Americans were a subject he returned to numerous times; these paintings reflect not only Wyeth’s fascination but also of America. As observed by art historian Krstine Ronan, Wyeth was part of a larger dialogue that developed around Native Americans, cementing a general Native American culture in the imagination of the United States. Thus, the painting operates on numerous levels simultaneously. How do we relate to this painting and its conception of the four seasons? How do we interpret Wyeth’s depiction of a Native American? What role do Native Americans play in America’s imagination?<br><br>We must also not forget that these works were first used to illustrate the poems of George T. Marsh. Marsh, a poet born in New York who often also wrote of the Canadian wilderness, provides subtle evocations of the seasons hinted at in the series title “The Moods”. This painting was used alongside “Hush,” which ends:<br><br>Are they runes of summers perished<br><br>That the fisher hears –and ceases—<br><br>Or the voice of one he cherished.<br><br>Within these few lines, Wyeth gives us a thoughtful and restrained painting that stirs from within. The poem and the painting avoid obvious clichés to represent the seasons. They develop a profound interpretation filled with sensitivity.<br><br>These paintings were important to Wyeth who hoped that “they may suggest to some architect the idea that such decorations would be appropriate in a library or capitol or some public building.” Summer, Hush demonstrates Wyeth’s control of color and composition so that small touches such as the ripples of water or the towering cloud that envelopes the figure are in service to sketch out the feeling of summer and of the poem. Through exploring this rich and complex painting, we are better able to appreciate NC Wyeth as an artist and the role this specific painting plays in the context of art history. Emerging at the end of the Gilded Age, N.C. Wyeth was one of the most important American artists and illustrators. His paintings and illustrations brought life to classic literature from Treasure Island to The Boy’s King Arthur and more. He is most remembered for his ability to capture crucial moments in narratives, fleshing out just a few words into a visual representation of deep drama and tension. Patriarch of the Wyeth artistic dynasty which includes his son Andrew and grandson Jamie, his influence touched future illustrators and artists.<br><br>Perhaps his most important legacy is how he shaped American imagination – of America itself and of wild possibilities. Wyeth’s powerful paintings gave life to many of the stories America told of itself. His early paintings captured life of the American West and some of his most beloved illustrations were for novels such as The Last of the Mohicans or short stories like “Rip Van Winkle”. Despite this success, Wyeth struggled with the commercialism of illustrations and advertisements, seeking his work to be accepted as fine art. Throughout his career, he experimented with different styles shifting from Impressionism to Divisionism to Regionalism.<br><br>N.C. Wyeth produced over 3,000 paintings and illustrated 112 books. His illustrations for the publisher Charles Scribner’s Sons were so popular they became known as Scribner’s Classics and remain in print to this day.<br><br>This quietly powerful painting of a Native American forms part of a quartet of paintings, inspired by and a metaphor for the four seasons. The paintings were used to illustrate George T. Marsh’s set of poems “The Moods”. Wyeth recognized that the series came at a crucial moment in his career in which the paintings go beyond realism to capture atmosphere and mood, an internal world of emotion made external. He even contemplated and attempted to write his own poems based on these paintings.<br> <br><br>Summer, Hush is a striking example of Wyeth pulling from his imagination and melding it with careful observation of nature. As noted in a letter to his mother, Wyeth combined the fictional subject with natural effects as in the sky. Native Americans were a subject he returned to numerous times; these paintings reflect not only Wyeth’s fascination but also of America. As observed by art historian Krstine Ronan, Wyeth was part of a larger dialogue that developed around Native Americans, cementing a general Native American culture in the imagination of the United States. Thus, the painting operates on numerous levels simultaneously. How do we relate to this painting and its conception of the four seasons? How do we interpret Wyeth’s depiction of a Native American? What role do Native Americans play in America’s imagination?<br><br>We must also not forget that these works were first used to illustrate the poems of George T. Marsh. Marsh, a poet born in New York who often also wrote of the Canadian wilderness, provides subtle evocations of the seasons hinted at in the series title “The Moods”. This painting was used alongside “Hush,” which ends:<br><br>Are they runes of summers perished<br><br>That the fisher hears –and ceases—<br><br>Or the voice of one he cherished.<br><br>Within these few lines, Wyeth gives us a thoughtful and restrained painting that stirs from within. The poem and the painting avoid obvious clichés to represent the seasons. They develop a profound interpretation filled with sensitivity.<br><br>These paintings were important to Wyeth who hoped that “they may suggest to some architect the idea that such decorations would be appropriate in a library or capitol or some public building.” Summer, Hush demonstrates Wyeth’s control of color and composition so that small touches such as the ripples of water or the towering cloud that envelopes the figure are in service to sketch out the feeling of summer and of the poem. Through exploring this rich and complex painting, we are better able to appreciate NC Wyeth as an artist and the role this specific painting plays in the context of art history. Emerging at the end of the Gilded Age, N.C. Wyeth was one of the most important American artists and illustrators. His paintings and illustrations brought life to classic literature from Treasure Island to The Boy’s King Arthur and more. He is most remembered for his ability to capture crucial moments in narratives, fleshing out just a few words into a visual representation of deep drama and tension. Patriarch of the Wyeth artistic dynasty which includes his son Andrew and grandson Jamie, his influence touched future illustrators and artists.<br><br>Perhaps his most important legacy is how he shaped American imagination – of America itself and of wild possibilities. Wyeth’s powerful paintings gave life to many of the stories America told of itself. His early paintings captured life of the American West and some of his most beloved illustrations were for novels such as The Last of the Mohicans or short stories like “Rip Van Winkle”. Despite this success, Wyeth struggled with the commercialism of illustrations and advertisements, seeking his work to be accepted as fine art. Throughout his career, he experimented with different styles shifting from Impressionism to Divisionism to Regionalism.<br><br>N.C. Wyeth produced over 3,000 paintings and illustrated 112 books. His illustrations for the publisher Charles Scribner’s Sons were so popular they became known as Scribner’s Classics and remain in print to this day.<br><br>This quietly powerful painting of a Native American forms part of a quartet of paintings, inspired by and a metaphor for the four seasons. The paintings were used to illustrate George T. Marsh’s set of poems “The Moods”. Wyeth recognized that the series came at a crucial moment in his career in which the paintings go beyond realism to capture atmosphere and mood, an internal world of emotion made external. He even contemplated and attempted to write his own poems based on these paintings.<br> <br><br>Summer, Hush is a striking example of Wyeth pulling from his imagination and melding it with careful observation of nature. As noted in a letter to his mother, Wyeth combined the fictional subject with natural effects as in the sky. Native Americans were a subject he returned to numerous times; these paintings reflect not only Wyeth’s fascination but also of America. As observed by art historian Krstine Ronan, Wyeth was part of a larger dialogue that developed around Native Americans, cementing a general Native American culture in the imagination of the United States. Thus, the painting operates on numerous levels simultaneously. How do we relate to this painting and its conception of the four seasons? How do we interpret Wyeth’s depiction of a Native American? What role do Native Americans play in America’s imagination?<br><br>We must also not forget that these works were first used to illustrate the poems of George T. Marsh. Marsh, a poet born in New York who often also wrote of the Canadian wilderness, provides subtle evocations of the seasons hinted at in the series title “The Moods”. This painting was used alongside “Hush,” which ends:<br><br>Are they runes of summers perished<br><br>That the fisher hears –and ceases—<br><br>Or the voice of one he cherished.<br><br>Within these few lines, Wyeth gives us a thoughtful and restrained painting that stirs from within. The poem and the painting avoid obvious clichés to represent the seasons. They develop a profound interpretation filled with sensitivity.<br><br>These paintings were important to Wyeth who hoped that “they may suggest to some architect the idea that such decorations would be appropriate in a library or capitol or some public building.” Summer, Hush demonstrates Wyeth’s control of color and composition so that small touches such as the ripples of water or the towering cloud that envelopes the figure are in service to sketch out the feeling of summer and of the poem. Through exploring this rich and complex painting, we are better able to appreciate NC Wyeth as an artist and the role this specific painting plays in the context of art history. Emerging at the end of the Gilded Age, N.C. Wyeth was one of the most important American artists and illustrators. His paintings and illustrations brought life to classic literature from Treasure Island to The Boy’s King Arthur and more. He is most remembered for his ability to capture crucial moments in narratives, fleshing out just a few words into a visual representation of deep drama and tension. Patriarch of the Wyeth artistic dynasty which includes his son Andrew and grandson Jamie, his influence touched future illustrators and artists.<br><br>Perhaps his most important legacy is how he shaped American imagination – of America itself and of wild possibilities. Wyeth’s powerful paintings gave life to many of the stories America told of itself. His early paintings captured life of the American West and some of his most beloved illustrations were for novels such as The Last of the Mohicans or short stories like “Rip Van Winkle”. Despite this success, Wyeth struggled with the commercialism of illustrations and advertisements, seeking his work to be accepted as fine art. Throughout his career, he experimented with different styles shifting from Impressionism to Divisionism to Regionalism.<br><br>N.C. Wyeth produced over 3,000 paintings and illustrated 112 books. His illustrations for the publisher Charles Scribner’s Sons were so popular they became known as Scribner’s Classics and remain in print to this day.<br><br>This quietly powerful painting of a Native American forms part of a quartet of paintings, inspired by and a metaphor for the four seasons. The paintings were used to illustrate George T. Marsh’s set of poems “The Moods”. Wyeth recognized that the series came at a crucial moment in his career in which the paintings go beyond realism to capture atmosphere and mood, an internal world of emotion made external. He even contemplated and attempted to write his own poems based on these paintings.<br> <br><br>Summer, Hush is a striking example of Wyeth pulling from his imagination and melding it with careful observation of nature. As noted in a letter to his mother, Wyeth combined the fictional subject with natural effects as in the sky. Native Americans were a subject he returned to numerous times; these paintings reflect not only Wyeth’s fascination but also of America. As observed by art historian Krstine Ronan, Wyeth was part of a larger dialogue that developed around Native Americans, cementing a general Native American culture in the imagination of the United States. Thus, the painting operates on numerous levels simultaneously. How do we relate to this painting and its conception of the four seasons? How do we interpret Wyeth’s depiction of a Native American? What role do Native Americans play in America’s imagination?<br><br>We must also not forget that these works were first used to illustrate the poems of George T. Marsh. Marsh, a poet born in New York who often also wrote of the Canadian wilderness, provides subtle evocations of the seasons hinted at in the series title “The Moods”. This painting was used alongside “Hush,” which ends:<br><br>Are they runes of summers perished<br><br>That the fisher hears –and ceases—<br><br>Or the voice of one he cherished.<br><br>Within these few lines, Wyeth gives us a thoughtful and restrained painting that stirs from within. The poem and the painting avoid obvious clichés to represent the seasons. They develop a profound interpretation filled with sensitivity.<br><br>These paintings were important to Wyeth who hoped that “they may suggest to some architect the idea that such decorations would be appropriate in a library or capitol or some public building.” Summer, Hush demonstrates Wyeth’s control of color and composition so that small touches such as the ripples of water or the towering cloud that envelopes the figure are in service to sketch out the feeling of summer and of the poem. Through exploring this rich and complex painting, we are better able to appreciate NC Wyeth as an artist and the role this specific painting plays in the context of art history. Emerging at the end of the Gilded Age, N.C. Wyeth was one of the most important American artists and illustrators. His paintings and illustrations brought life to classic literature from Treasure Island to The Boy’s King Arthur and more. He is most remembered for his ability to capture crucial moments in narratives, fleshing out just a few words into a visual representation of deep drama and tension. Patriarch of the Wyeth artistic dynasty which includes his son Andrew and grandson Jamie, his influence touched future illustrators and artists.<br><br>Perhaps his most important legacy is how he shaped American imagination – of America itself and of wild possibilities. Wyeth’s powerful paintings gave life to many of the stories America told of itself. His early paintings captured life of the American West and some of his most beloved illustrations were for novels such as The Last of the Mohicans or short stories like “Rip Van Winkle”. Despite this success, Wyeth struggled with the commercialism of illustrations and advertisements, seeking his work to be accepted as fine art. Throughout his career, he experimented with different styles shifting from Impressionism to Divisionism to Regionalism.<br><br>N.C. Wyeth produced over 3,000 paintings and illustrated 112 books. His illustrations for the publisher Charles Scribner’s Sons were so popular they became known as Scribner’s Classics and remain in print to this day.<br><br>This quietly powerful painting of a Native American forms part of a quartet of paintings, inspired by and a metaphor for the four seasons. The paintings were used to illustrate George T. Marsh’s set of poems “The Moods”. Wyeth recognized that the series came at a crucial moment in his career in which the paintings go beyond realism to capture atmosphere and mood, an internal world of emotion made external. He even contemplated and attempted to write his own poems based on these paintings.<br> <br><br>Summer, Hush is a striking example of Wyeth pulling from his imagination and melding it with careful observation of nature. As noted in a letter to his mother, Wyeth combined the fictional subject with natural effects as in the sky. Native Americans were a subject he returned to numerous times; these paintings reflect not only Wyeth’s fascination but also of America. As observed by art historian Krstine Ronan, Wyeth was part of a larger dialogue that developed around Native Americans, cementing a general Native American culture in the imagination of the United States. Thus, the painting operates on numerous levels simultaneously. How do we relate to this painting and its conception of the four seasons? How do we interpret Wyeth’s depiction of a Native American? What role do Native Americans play in America’s imagination?<br><br>We must also not forget that these works were first used to illustrate the poems of George T. Marsh. Marsh, a poet born in New York who often also wrote of the Canadian wilderness, provides subtle evocations of the seasons hinted at in the series title “The Moods”. This painting was used alongside “Hush,” which ends:<br><br>Are they runes of summers perished<br><br>That the fisher hears –and ceases—<br><br>Or the voice of one he cherished.<br><br>Within these few lines, Wyeth gives us a thoughtful and restrained painting that stirs from within. The poem and the painting avoid obvious clichés to represent the seasons. They develop a profound interpretation filled with sensitivity.<br><br>These paintings were important to Wyeth who hoped that “they may suggest to some architect the idea that such decorations would be appropriate in a library or capitol or some public building.” Summer, Hush demonstrates Wyeth’s control of color and composition so that small touches such as the ripples of water or the towering cloud that envelopes the figure are in service to sketch out the feeling of summer and of the poem. Through exploring this rich and complex painting, we are better able to appreciate NC Wyeth as an artist and the role this specific painting plays in the context of art history. Emerging at the end of the Gilded Age, N.C. Wyeth was one of the most important American artists and illustrators. His paintings and illustrations brought life to classic literature from Treasure Island to The Boy’s King Arthur and more. He is most remembered for his ability to capture crucial moments in narratives, fleshing out just a few words into a visual representation of deep drama and tension. Patriarch of the Wyeth artistic dynasty which includes his son Andrew and grandson Jamie, his influence touched future illustrators and artists.<br><br>Perhaps his most important legacy is how he shaped American imagination – of America itself and of wild possibilities. Wyeth’s powerful paintings gave life to many of the stories America told of itself. His early paintings captured life of the American West and some of his most beloved illustrations were for novels such as The Last of the Mohicans or short stories like “Rip Van Winkle”. Despite this success, Wyeth struggled with the commercialism of illustrations and advertisements, seeking his work to be accepted as fine art. Throughout his career, he experimented with different styles shifting from Impressionism to Divisionism to Regionalism.<br><br>N.C. Wyeth produced over 3,000 paintings and illustrated 112 books. His illustrations for the publisher Charles Scribner’s Sons were so popular they became known as Scribner’s Classics and remain in print to this day.<br><br>This quietly powerful painting of a Native American forms part of a quartet of paintings, inspired by and a metaphor for the four seasons. The paintings were used to illustrate George T. Marsh’s set of poems “The Moods”. Wyeth recognized that the series came at a crucial moment in his career in which the paintings go beyond realism to capture atmosphere and mood, an internal world of emotion made external. He even contemplated and attempted to write his own poems based on these paintings.<br> <br><br>Summer, Hush is a striking example of Wyeth pulling from his imagination and melding it with careful observation of nature. As noted in a letter to his mother, Wyeth combined the fictional subject with natural effects as in the sky. Native Americans were a subject he returned to numerous times; these paintings reflect not only Wyeth’s fascination but also of America. As observed by art historian Krstine Ronan, Wyeth was part of a larger dialogue that developed around Native Americans, cementing a general Native American culture in the imagination of the United States. Thus, the painting operates on numerous levels simultaneously. How do we relate to this painting and its conception of the four seasons? How do we interpret Wyeth’s depiction of a Native American? What role do Native Americans play in America’s imagination?<br><br>We must also not forget that these works were first used to illustrate the poems of George T. Marsh. Marsh, a poet born in New York who often also wrote of the Canadian wilderness, provides subtle evocations of the seasons hinted at in the series title “The Moods”. This painting was used alongside “Hush,” which ends:<br><br>Are they runes of summers perished<br><br>That the fisher hears –and ceases—<br><br>Or the voice of one he cherished.<br><br>Within these few lines, Wyeth gives us a thoughtful and restrained painting that stirs from within. The poem and the painting avoid obvious clichés to represent the seasons. They develop a profound interpretation filled with sensitivity.<br><br>These paintings were important to Wyeth who hoped that “they may suggest to some architect the idea that such decorations would be appropriate in a library or capitol or some public building.” Summer, Hush demonstrates Wyeth’s control of color and composition so that small touches such as the ripples of water or the towering cloud that envelopes the figure are in service to sketch out the feeling of summer and of the poem. Through exploring this rich and complex painting, we are better able to appreciate NC Wyeth as an artist and the role this specific painting plays in the context of art history. Emerging at the end of the Gilded Age, N.C. Wyeth was one of the most important American artists and illustrators. His paintings and illustrations brought life to classic literature from Treasure Island to The Boy’s King Arthur and more. He is most remembered for his ability to capture crucial moments in narratives, fleshing out just a few words into a visual representation of deep drama and tension. Patriarch of the Wyeth artistic dynasty which includes his son Andrew and grandson Jamie, his influence touched future illustrators and artists.<br><br>Perhaps his most important legacy is how he shaped American imagination – of America itself and of wild possibilities. Wyeth’s powerful paintings gave life to many of the stories America told of itself. His early paintings captured life of the American West and some of his most beloved illustrations were for novels such as The Last of the Mohicans or short stories like “Rip Van Winkle”. Despite this success, Wyeth struggled with the commercialism of illustrations and advertisements, seeking his work to be accepted as fine art. Throughout his career, he experimented with different styles shifting from Impressionism to Divisionism to Regionalism.<br><br>N.C. Wyeth produced over 3,000 paintings and illustrated 112 books. His illustrations for the publisher Charles Scribner’s Sons were so popular they became known as Scribner’s Classics and remain in print to this day.<br><br>This quietly powerful painting of a Native American forms part of a quartet of paintings, inspired by and a metaphor for the four seasons. The paintings were used to illustrate George T. Marsh’s set of poems “The Moods”. Wyeth recognized that the series came at a crucial moment in his career in which the paintings go beyond realism to capture atmosphere and mood, an internal world of emotion made external. He even contemplated and attempted to write his own poems based on these paintings.<br> <br><br>Summer, Hush is a striking example of Wyeth pulling from his imagination and melding it with careful observation of nature. As noted in a letter to his mother, Wyeth combined the fictional subject with natural effects as in the sky. Native Americans were a subject he returned to numerous times; these paintings reflect not only Wyeth’s fascination but also of America. As observed by art historian Krstine Ronan, Wyeth was part of a larger dialogue that developed around Native Americans, cementing a general Native American culture in the imagination of the United States. Thus, the painting operates on numerous levels simultaneously. How do we relate to this painting and its conception of the four seasons? How do we interpret Wyeth’s depiction of a Native American? What role do Native Americans play in America’s imagination?<br><br>We must also not forget that these works were first used to illustrate the poems of George T. Marsh. Marsh, a poet born in New York who often also wrote of the Canadian wilderness, provides subtle evocations of the seasons hinted at in the series title “The Moods”. This painting was used alongside “Hush,” which ends:<br><br>Are they runes of summers perished<br><br>That the fisher hears –and ceases—<br><br>Or the voice of one he cherished.<br><br>Within these few lines, Wyeth gives us a thoughtful and restrained painting that stirs from within. The poem and the painting avoid obvious clichés to represent the seasons. They develop a profound interpretation filled with sensitivity.<br><br>These paintings were important to Wyeth who hoped that “they may suggest to some architect the idea that such decorations would be appropriate in a library or capitol or some public building.” Summer, Hush demonstrates Wyeth’s control of color and composition so that small touches such as the ripples of water or the towering cloud that envelopes the figure are in service to sketch out the feeling of summer and of the poem. Through exploring this rich and complex painting, we are better able to appreciate NC Wyeth as an artist and the role this specific painting plays in the context of art history.
صيف. "Hush"190933 3/4 × 30 1/4 بوصة. (85.73 × 76.84 سم) زيت على قماش
الاصل
السيد والسيدة إدوين ر. وايث، 1913
السيدة إدوين وايث، حتى عام 1988
(جودي غوفمان للفنون الجميلة ، نيويورك ، نيويورك ، مايو 1991)
مجموعة جون إدوارد ديل ، حتى أغسطس 1995
مجموعة خاصة، نيويورك، حتى عام 2008
[معرض سومرفيل مانينغ، غرينفيل، ديلوير، نيسان/أبريل 2008]
معرض
فيلادلفيا ، بنسلفانيا ، 1910 ، رقم 798 في ص. 51 ، باسم "الصيف"
تشادز فورد ، بنسلفانيا ، 1972 ، رقم 12 ؛ غرينفيل ، دي ، 1995
جرينفيل ، ديلاوير ، معرض سومرفيل مانينغ ، نورث كارولاينا وايث: رسام ورسام ، 14 يونيو - 14 سبتمبر 2019
ويست بال
... اكثر...م بيتش ، فلوريدا ، حدائق آن نورتون للنحت ، الماجستير التصويري للأمريكتين ، 4 يناير - 12 فبراير 2023
الادب
بيتسي جيمس وايث ، محرر ، The Wyeths ، رسائل إن سي وايث ، 1901-1945 (بوسطن: مناورة ، 1971) ، ص. 312 ، 313
دوغلاس ألين ودوغلاس ألين الابن ، إن سي وايث ، اللوحات المجمعة والرسوم التوضيحية والجداريات (نيويورك: كراون للنشر ، 1972) ، ص. 275 ، رسم توضيحي بالأبيض والأسود ص. 62
جون إدوارد ديل ، محرر ، رؤى المغامرة ، إن سي وايث وفنانو برانديواين (نيويورك: منشورات واتسون جوبتيل ، 2000) ، رسم توضيحي بالألوان ص. 64
كريستين ب. بودمانيتشكي ، إن سي وايث ، كتالوج رايسوني للوحات (لندن: سكالا ، 2008) ، I.284 ، ص. 200
... اقل...
الاستفسار

"اليوم بدأت العمل في الاستوديو وقضيت يوما ناجحا للغاية. وضعت في الصورة الهندية الأخيرة "الصيف" ، مع تأثير السماء التي رأيتها أنا وبابي على الجسر ..." - NC Wyeth في رسالة إلى والدته على "الصيف ، اسكت"

التاريخ

ظهرت في نهاية العصر المذهب ، كانت N.C. Wyeth واحدة من أهم الفنانين والرسامين الأمريكيين. جلبت لوحاته ورسوماته التوضيحية الحياة إلى الأدب الكلاسيكي من جزيرة الكنز إلى الملك آرثر الصبي وأكثر من ذلك. يتم تذكره أكثر لقدرته على التقاط اللحظات الحاسمة في الروايات ، وتجسيد بضع كلمات فقط في تمثيل مرئي للدراما العميقة والتوتر. بطريرك سلالة وايث الفنية التي تضم ابنه أندرو وحفيده جيمي ، أثر تأثيره على الرسامين والفنانين في المستقبل.

ولعل إرثه الأكثر أهمية هو كيف شكل الخيال الأميركي أميركا نفسها والاحتمالات الجامحة. أعطت لوحات وايث القوية الحياة للعديد من القصص التي روتها أمريكا عن نفسها. التقطت لوحاته المبكرة حياة الغرب الأمريكي وكانت بعض رسوماته التوضيحية المحبوبة لروايات مثل The Last of the Mohicans أو القصص القصيرة مثل "Rip Van Winkle". على الرغم من هذا النجاح ، كافح وايث مع الطابع التجاري للرسوم التوضيحية والإعلانات ، ساعيا إلى قبول عمله كفن جميل. طوال حياته المهنية ، جرب أساليب مختلفة تحولت من الانطباعية إلى التقسيم إلى الإقليمية.

أنتج N.C. Wyeth أكثر من 3000 لوحة ورسم 112 كتابا. كانت رسوماته التوضيحية للناشر تشارلز سكريبنر Sons شائعة جدا لدرجة أنها أصبحت تعرف باسم كلاسيكيات سكريبنر ولا تزال مطبوعة حتى يومنا هذا.

اكثر
"لدي في ذهني أربعة مواضيع ، "الربيع" و "الصيف" و "الخريف" و "الشتاء" ، وكلها تمثل بشكل رمزي الفصول ، أي تحمل روح الموسم كما كانت." - NC Wyeth على اللوحات الأربع بما في ذلك "الصيف ، صمت"

أعمال إضافية توضح الحالة المزاجية لجورج ت. مارش

"الربيع. " أغنية" (1909)

زيت على قماش، 33 3/4 × 30 1/4 بوصة.

"الخريف. " الانتظار" (1909)

زيت على قماش، 33 1/2 × 29 1/2 بوصة.

"الشتاء. " الموت" (1909)

زيت على قماش، 33 × 29 1/2 بوصة.

رؤى السوق

  • وايثامر
  • يظهر الرسم البياني الذي أعدته Art Market Research أنه منذ عام 1976 ، زادت لوحات N.C. Wyeth بمعدل عائد سنوي 13.4٪.
  • يظهر الرسم البياني للسوق نموا كبيرا في السوق منذ عام 2010 ، وزيادة حادة في الآونة الأخيرة في عام 2020.
  • 2 من أفضل 3 نتائج مزاد هي مشاهد غربية

أفضل النتائج في المزاد

Tempera على لوحة عصر النهضة، 40 × 60 بوصة. يباع في سوذبيز نيويورك: 23 مايو 2018.

"صورة مزارع (مزارع بنسلفانيا)" (1943) بيعت مقابل 5,985,900 دولار أمريكي.

Tempera على لوحة عصر النهضة، 40 × 60 بوصة. يباع في سوذبيز نيويورك: 23 مايو 2018.
زيت على قماش، 43 × 30 بوصة. يباع في كريستيز نيويورك: 22 نوفمبر 2016.

بيع فيلم "Hands Up" (1906) مقابل 4,951,500 دولار أمريكي.

زيت على قماش، 43 × 30 بوصة. يباع في كريستيز نيويورك: 22 نوفمبر 2016.
زيت على قماش، 46 × 69 1/4 بوصة. يباع في كريستيز نيويورك: 28 أكتوبر 2020.

تم بيع "نداء الحب الهندي" (1927) مقابل 3,510,000 دولار أمريكي.

زيت على قماش، 46 × 69 1/4 بوصة. يباع في كريستيز نيويورك: 28 أكتوبر 2020.

لوحات مماثلة تباع في مزاد علني

زيت على قماش، 43 × 30 بوصة. يباع في كريستيز نيويورك: 22 نوفمبر 2016.

بيع فيلم "Hands Up" (1906) مقابل 4,951,500 دولار أمريكي.

زيت على قماش، 43 × 30 بوصة. يباع في كريستيز نيويورك: 22 نوفمبر 2016.
  • أكبر من الصيف صمت
  • رسمت قبل ثلاث سنوات من الصيف صمت
  • موضوع غربي مماثل
  • نشرت في الأصل كرسم توضيحي ل C.P. Connolly قصة مونتانا في عدد أغسطس 1906 من مجلة McClure's Magazine
زيت على قماش، 46 × 69 1/4 بوصة. يباع في كريستيز نيويورك: 28 أكتوبر 2020.

تم بيع "نداء الحب الهندي" (1927) مقابل 3,510,000 دولار أمريكي.

زيت على قماش، 46 × 69 1/4 بوصة. يباع في كريستيز نيويورك: 28 أكتوبر 2020.
  • أكبر من الصيف صمت
  • رسمت بعد 16 عاما من صمت الصيف
  • موضوع مماثل للأمريكيين الأصليين
  • رسمت في الأصل كلجنة خاصة
زيت على قماش، 36 × 30 بوصة. بيعت في دار سوذبيز نيويورك: 29 نوفمبر 2006.

"الوقوف والتسليم" (حوالي 1921) بيعت مقابل 2,032,000 دولار أمريكي.

زيت على قماش، 36 × 30 بوصة. بيعت في دار سوذبيز نيويورك: 29 نوفمبر 2006.
  • حجم مماثل
  • رسمت بعد 12 عاما من صمت الصيف
  • نشرت في الأصل على غلاف مجلة الحياة في 22 سبتمبر 1921.
  • سجل المزاد هو من 16 عاما مضت.
زيت على قماش، 41 5/8 × 27 1/8 بوصة. يباع في دار سوذبيز نيويورك: 20 نوفمبر 2014.

تم بيع فيلم "The Skier (The Ski Runner)" (1910) مقابل 1,205,000 دولار أمريكي.

زيت على قماش، 41 5/8 × 27 1/8 بوصة. يباع في دار سوذبيز نيويورك: 20 نوفمبر 2014.
  • رسمت 1 سنة بعد الصيف صمت
  • أكبر قليلا من الصيف هوش
  • تم توضيحه في الأصل على غلاف مجلة The Popular Magazine في فبراير 1911 "إصدار نهاية الشهر"
  • سجل المزاد من 8 سنوات مضت
زيت على لوح قماش، 18 1/4 × 18 1/4 بوصة. بيعت في دار سوذبيز نيويورك: 28 نوفمبر 2007.

بيع فيلم "الصيد الهندي" (1908) مقابل 937,000 دولار أمريكي.

زيت على لوح قماش، 18 1/4 × 18 1/4 بوصة. بيعت في دار سوذبيز نيويورك: 28 نوفمبر 2007.
  • رسمت 1 سنة قبل الصيف صمت
  • موضوع مماثل للأمريكيين الأصليين
  • أصغر من الصيف صمت
  • نشرت في الأصل على غلاف صحيفة The Saturday Evening Post في 18 يوليو 1908
  • سجل المزاد يعود إلى 15 عاما مضت

لوحات في مجموعات المتحف

متحف متروبوليتان للفنون، نيويورك

"The Lobsterman (The Doryman)" (1944) ، مزاج البيض على الخشب ، 23 1/4 × 47 1/4 بوصة.

متحف نهر براندي واين للفنون ، شادس فورد ، بنسلفانيا

"الصياد" (1906)، زيت على قماش، 38 7/8 × 26 5/8 بوصة.

متحف بيبودي إسيكس ، سالم ، ماساتشوستس

"أخذوا زوجاتهم معهم في رحلاتهم البحرية" (حوالي 1938) ، زيت على متن الطائرة ، 34 × 24 بوصة.

متحف فارنسورث للفنون ، روكلاند ، مين

"The Hayride" (حوالي 1912) ، زيت على قماش ، 47 × 35 بوصة.

المتحف الوطني للرسوم التوضيحية الأمريكية ، نيوبورت ، رود آيلاند

"Prestonegrange" (حوالي 1924) ، زيت على قماش ، 39 × 24 بوصة.

متحف دنفر للفنون، دنفر كولورادو

"Gunfight" (c. 1916) ، زيت على قماش ، 33 1/2 × 24 5/8 بوصة.
"آمل ألا يأتي الوقت الذي سأشعر فيه بالرضا. للوصول إلى هدف طموحات المرء يجب أن يكون مأساويا." - N.C. Wyeth

معرض الصور

موارد إضافية

"أبي" لأندرو وايث

اقرأ هذه السيرة الذاتية ل N.C. Wyeth التي كتبها أندرو وايث ، الرسام الشهير وابن N.C. Wyeth.

ذا إن .C وايث هاوس آند ستوديو

قم بجولة افتراضية في منزل الفنان والاستوديو في شادس فورد ، بنسلفانيا من خلال هذا الفيديو من متحف نهر براندي واين للفنون.

رسائل ن.C. وايث

اقرأ رسائل N.C. Wyeth حيث يشارك رؤى حول إلهامه وراء "الصيف". اسكت".

المصادقه

انظر الصيف. إدراج "Hush" في كتالوج دوغلاس ألين ودوغلاس جونيور لسبب وجود الأعمال الفنية ل N.C. Wyeth. 

عرض الكتالوج الكامل Raisonné Entry

الاستفسار

الاستعلام - الفن واحد

أعمال أخرى ل N.C. Wyeth

قد تحب أيضا

لم يتم العثور على نتائج.