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CHARLES HERBERT WOODBURY

ARTIST BIO INQUIREDOWNLOAD PDFSIMILAR ARTWORKS
 
CHARLES HERBERT WOODBURY - Beach Scene with Umbrella - oil on board - 12 x 17 in. CHARLES HERBERT WOODBURY - Beach Scene with Umbrella - oil on board - 12 x 17 in. CHARLES HERBERT WOODBURY - Beach Scene with Umbrella - oil on board - 12 x 17 in. CHARLES HERBERT WOODBURY - Beach Scene with Umbrella - oil on board - 12 x 17 in. CHARLES HERBERT WOODBURY - Beach Scene with Umbrella - oil on board - 12 x 17 in. CHARLES HERBERT WOODBURY - Beach Scene with Umbrella - oil on board - 12 x 17 in. CHARLES HERBERT WOODBURY - Beach Scene with Umbrella - oil on board - 12 x 17 in. CHARLES HERBERT WOODBURY - Beach Scene with Umbrella - oil on board - 12 x 17 in. CHARLES HERBERT WOODBURY - Beach Scene with Umbrella - oil on board - 12 x 17 in.
CHARLES HERBERT WOODBURY - Beach Scene with Umbrella - oil on board - 12 x 17 in.
Beach Scene with Umbrella191412 x 17 in. oil on board
Provenance
Private Collection, Santa Barbara, California

35,000

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American painter John Marin set up his studio in Paris where he drew upon ideas from both the Post-Impressionists and the budding Modernism of the early 20th century. Championed and supported by renowned gallerist Alfred Stieglitz and photographer Edward Steichen, Marin returned to the United States, bringing with him the avant-garde European style of painting that he rooted in the natural landscape. Marin made annual trips to Maine, inspired by its coast and landscape. In Cape Split, Maine, Marin captures the stark ruggedness of the seacoast.

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Peaks of St. Gervais is one of the artist’s classic landscapes, with his distinctive swift brushstroke and charming town and structures — half of which he rendered in the shade — dwarfed by the snow-capped mountain. In most of his paintings, Payne used structures and figures not as subject, but to communicate the dramatic scale of mountain landscape. Drawn to the mountains of Europe, Payne trekked and painted the Swiss Alps, the colorful harbors of Brittany and France, and the sailing vessels in Italy.

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"Interior" is one of Maurice Askenazy’s more modern compositions, calling to mind the work of Bonnard or Vuillard. The intimate scene shows a nude female model, dramatically seen in profile, posing for a painter in a sun-drenched studio. The door to the room is open, giving the impression that the viewer is stealing a glimpse of a private interaction between artist and model. A cleverly placed mirror on the back of the open door reveals the reflection of the painter, who we are meant to take as Askenazy himself, at work. Askenazy takes great care to depict the details of the room, from the patterned ottoman to the framed paintings on the walls, each a mosaic of Impressionistic color.

MAURICE ASKENAZY

"Loading Supplies" is a scene of harbor workers stocking small boats with supplies, perhaps en route to load a larger steamer. In the foreground, a singular female figure stands before the cluster of men with her back to the viewer, while a group of anchored boats float on the motionless water in the background. The brightly painted boats and the fisherman dressed in their blue or orange slickers make for a colorful scene. The simple composition parallels the simplicity of the subject: a glimpse of everyday life and work in a coastal community.

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