Erkundigen Sie sich beiGESCHICHTEWEITERE WERKE AUS DER SERIEMARKTEINBLICKEAUKTIONSREKORDEAUKTIONSVERGLEICHEMUSEUMSSAMMLUNGENZUSÄTZLICHE RESSOURCENAUTHENTIFIZIERUNGGLEICHARTIGE WERKE
Zurück

N.C. WYETH (1882-1945)

KÜNSTLER BIO ANFORDERNPDF HERUNTERLADEN
 
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.
Sommer. "Stille"190933 3/4 x 30 1/4 Zoll.(85,73 x 76,84 cm) Öl auf Leinwand
Provenienz
Herr und Frau Edwin R. Wyeth, 1913
Mrs. Edwin Wyeth, bis 1988
(Judy Goffman Fine Art, New York, NY, Mai 1991)
Sammlung von John Edward Dell, bis August 1995
Privatsammlung, New York, bis 2008
(Somerville Manning Gallery, Greenville, Deleware, April 2008)
Ausstellung
Philadelphia, PA, 1910, Nr. 798 auf S. 51, als "Summer"
Chadds Ford, PA, 1972, Nr. 12; Greenville, DE, 1995
Greenville, DE, Somerville Manning Gallery, "N. C. Wyeth: Painter and Illustrator", 14. Juni bis 14. September 2019
Literaturhinweise
Betsy James Wyeth, Hrsg., Die Wyeths, ...Mehr.....Die Briefe von N. C. Wyeth, 1901-1945 (Boston: Gambit, 1971), S. 312, 313
Douglas Allen und Douglas Allen, Jr., N. C. Wyeth, The Collected Paintings, Illustrations and Murals (New York: Crown Publishers, 1972), S. 275, Abbildung in s/w S. 62
John Edward Dell, Hrsg., Visions of Adventure, N. C. Wyeth and the Brandywine Artists (New York: Watson-Guptill Publications, 2000), Abbildung in Farbe S. 64
Christine B. Podmaniczky, N. C. Wyeth, A Catalogue Raisonné of Paintings (London: Scala, 2008), I.284, S. 200
...WENIGER.....
Zurück
Fragen Sie

"Heute habe ich mit der Arbeit im Atelier begonnen und hatte einen sehr erfolgreichen Tag. Habe das letzte Indianerbild 'Summer' mit dem Himmelseffekt, den Babe und ich an der Brücke gesehen haben, eingefügt..." - NC Wyeth in einem Brief an seine Mutter zu "Summer, Hush"

Geschichte

N.C. Wyeth, der am Ende des Gilded Age auftauchte, war einer der bedeutendsten amerikanischen Künstler und Illustratoren. Seine Gemälde und Illustrationen erweckten klassische Literatur von der Schatzinsel bis zu The Boy's King Arthur und mehr zum Leben. Er ist vor allem für seine Fähigkeit bekannt, entscheidende Momente in Erzählungen einzufangen, indem er nur wenige Worte in eine visuelle Darstellung von großer Dramatik und Spannung verwandelte. Als Patriarch der Wyeth-Künstlerdynastie, zu der auch sein Sohn Andrew und sein Enkel Jamie gehören, beeinflusste er zukünftige Illustratoren und Künstler.

Sein vielleicht wichtigstes Vermächtnis ist die Art und Weise, wie er die amerikanische Vorstellungskraft geprägt hat - von Amerika selbst und von wilden Möglichkeiten. Wyeths kraftvolle Gemälde erweckten viele der Geschichten zum Leben, die Amerika über sich selbst erzählte. Seine frühen Gemälde hielten das Leben im amerikanischen Westen fest, und einige seiner beliebtesten Illustrationen waren für Romane wie "Der letzte Mohikaner " oder Kurzgeschichten wie "Rip Van Winkle". Trotz dieses Erfolges kämpfte Wyeth mit der Kommerzialisierung von Illustrationen und Werbung und wollte, dass seine Arbeiten als Kunst anerkannt werden. Im Laufe seiner Karriere experimentierte er mit verschiedenen Stilen, die vom Impressionismus über den Divisionismus bis zum Regionalismus reichten.

N.C. Wyeth schuf über 3.000 Gemälde und illustrierte 112 Bücher. Seine Illustrationen für den Verlag Charles Scribner's Sons waren so beliebt, dass sie als "Scribner's Classics" bekannt wurden und bis heute gedruckt werden.

Mehr
Fragen Sie
"Mir schweben vier Themen vor, 'Frühling', 'Sommer', 'Herbst' und 'Winter', die alle symbolisch für die Jahreszeiten stehen, d.h. sozusagen den Geist der jeweiligen Jahreszeit in sich tragen." - NC Wyeth über die vier Gemälde, darunter "Summer, Hush"

Zusätzliche Werke zur Veranschaulichung der Stimmungen von George T. Marsh

Öl auf Leinwand, 33 3/4 × 30 1/4 Zoll.

"Frühling. 'Song'" (1909)

Öl auf Leinwand, 33 3/4 × 30 1/4 Zoll.
Öl auf Leinwand, 33 1/2 × 29 1/2 Zoll.

"Herbst. 'Warten'" (1909)

Öl auf Leinwand, 33 1/2 × 29 1/2 Zoll.
Öl auf Leinwand, 33 × 29 1/2 Zoll.

"Winter. 'Tod'" (1909)

Öl auf Leinwand, 33 × 29 1/2 Zoll.

MARKTEINBLICKE

  • WyethAMR
  • Die von Art Market Research erstellte Grafik zeigt, dass die Gemälde von N.C. Wyeth seit 1976 eine jährliche Rendite von 13,4 % erzielt haben.
  • Das Marktdiagramm zeigt ein deutliches Wachstum des Marktes seit 2010 und einen starken Anstieg bis zum Jahr 2020.
  • 2 der 3 besten Auktionsergebnisse sind Westernszenen
Fragen Sie

Spitzenergebnisse bei Auktionen

Tempera auf Renaissance-Paneel, 40 x 60 cm. Verkauft bei Sotheby's New York: 23. Mai 2018.

"Porträt eines Farmers (Pennsylvania Farmer)" (1943) wurde für 5.985.900 USD verkauft.

Tempera auf Renaissance-Paneel, 40 x 60 cm. Verkauft bei Sotheby's New York: 23. Mai 2018.
Öl auf Leinwand, 43 x 30 cm. Verkauft bei Christie's New York: 22. November 2016.

"Hände hoch" (1906) wurde für 4.951.500 USD verkauft.

Öl auf Leinwand, 43 x 30 cm. Verkauft bei Christie's New York: 22. November 2016.
Öl auf Leinwand, 46 x 69 1/4 Zoll. Verkauft bei Christie's New York: 28. Oktober 2020.

"Indian Love Call" (1927) wurde für 3.510.000 USD verkauft.

Öl auf Leinwand, 46 x 69 1/4 Zoll. Verkauft bei Christie's New York: 28. Oktober 2020.

Vergleichbare Gemälde bei einer Auktion verkauft

Öl auf Leinwand, 43 x 30 cm. Verkauft bei Christie's New York: 22. November 2016.

"Hände hoch" (1906) wurde für 4.951.500 USD verkauft.

Öl auf Leinwand, 43 x 30 cm. Verkauft bei Christie's New York: 22. November 2016.
  • Größer als Summer Hush
  • Gemalt drei Jahre vor Summer Hush
  • Ähnliche Themen aus dem Westen
  • Ursprünglich veröffentlicht als Frontispiz von C.P. Connollys The Story of Montana in der Augustausgabe 1906 des McClure's Magazine
Öl auf Leinwand, 46 x 69 1/4 Zoll. Verkauft bei Christie's New York: 28. Oktober 2020.

"Indian Love Call" (1927) wurde für 3.510.000 USD verkauft.

Öl auf Leinwand, 46 x 69 1/4 Zoll. Verkauft bei Christie's New York: 28. Oktober 2020.
  • Größer als Summer Hush
  • Gemalt 16 Jahre nach Summer Hush
  • Ähnliches Thema der amerikanischen Ureinwohner
  • Ursprünglich als Privatauftrag gemalt
Öl auf Leinwand, 36 x 30 Zoll. Verkauft bei Sotheby's New York: 29. November 2006.

"Stand and Deliver" (um 1921) wurde für 2.032.000 USD verkauft.

Öl auf Leinwand, 36 x 30 Zoll. Verkauft bei Sotheby's New York: 29. November 2006.
  • Ähnliche Größe
  • Gemalt 12 Jahre nach Summer Hush
  • Ursprünglich veröffentlicht auf der Titelseite der Zeitschrift Life am 22. September 1921.
  • Der Auktionsrekord stammt von vor 16 Jahren.
Öl auf Leinwand, 41 5/8 x 27 1/8 Zoll. Verkauft bei Sotheby's New York: 20. November 2014.

"Der Skifahrer (The Ski Runner)" (1910) wurde für 1.205.000 USD verkauft.

Öl auf Leinwand, 41 5/8 x 27 1/8 Zoll. Verkauft bei Sotheby's New York: 20. November 2014.
  • Gemalt 1 Jahr nach Summer Hush
  • Etwas größer als Summer Hush
  • Ursprünglich abgebildet auf dem Titelblatt der "Month End Edition" des The Popular Magazinevom Februar 1911.
  • Der Auktionsrekord ist von vor 8 Jahren
Öl auf Leinwand, 18 1/4 x 18 1/4 Zoll. Verkauft bei Sotheby's New York: 28. November 2007.

"Indian Fishing" (1908) wurde für 937.000 USD verkauft.

Öl auf Leinwand, 18 1/4 x 18 1/4 Zoll. Verkauft bei Sotheby's New York: 28. November 2007.
  • Gemalt 1 Jahr vor Summer Hush
  • Ähnliches Thema der amerikanischen Ureinwohner
  • Kleiner als Summer Hush
  • Ursprünglich veröffentlicht auf der Titelseite von The Saturday Evening Post am 18. Juli 1908
  • Der Auktionsrekord ist von vor 15 Jahren

Gemälde in Museumssammlungen

"Der Hummermann (The Doryman)" (1944), Eitempera auf Holz, 23 1/4 x 47 1/4 Zoll.

Metropolitan Museum of Art, New York

"Der Hummermann (The Doryman)" (1944), Eitempera auf Holz, 23 1/4 x 47 1/4 Zoll.
"Der Jäger" (1906), Öl auf Leinwand, 38 7/8 x 26 5/8 Zoll.

Brandywine River Museum of Art, Chadds Ford, Pennsylvania

"Der Jäger" (1906), Öl auf Leinwand, 38 7/8 x 26 5/8 Zoll.
"Sie nahmen ihre Ehefrauen mit auf ihre Kreuzfahrten" (ca. 1938), Öl auf Karton, 34 x 24 Zoll.

Peabody Essex Museum, Salem, Massachusetts

"Sie nahmen ihre Ehefrauen mit auf ihre Kreuzfahrten" (ca. 1938), Öl auf Karton, 34 x 24 Zoll.
"Die Heuwagenfahrt" (um 1912), Öl auf Leinwand, 47 x 35 cm.

Farnsworth Kunstmuseum, Rockland, Maine

"Die Heuwagenfahrt" (um 1912), Öl auf Leinwand, 47 x 35 cm.
"Prestonegrange" (um 1924), Öl auf Leinwand, 39 x 24 cm.

Nationales Museum für amerikanische Illustration, Newport, Rhode Island

"Prestonegrange" (um 1924), Öl auf Leinwand, 39 x 24 cm.
"Schießerei" (um 1916), Öl auf Leinwand, 33 1/2 x 24 5/8 Zoll.

Denver Art Museum, Denver, Colorado

"Schießerei" (um 1916), Öl auf Leinwand, 33 1/2 x 24 5/8 Zoll.
"Ich hoffe, dass nie die Zeit kommen wird, in der ich zufrieden sein werde. Das Ziel der eigenen Ambitionen zu erreichen, muss tragisch sein." - N.C. Wyeth

Bild-Galerie

  • Wyeth13658_gallery1
  • Wyeth13658_gallery2
  • Wyeth13658_gallery3
  • Wyeth13658_gallery4
  • Wyeth13658_gallery5
  • Wyeth13658_gallery6
  • Wyeth13658_gallery7
  • Wyeth13658_Galerie8
  • Wyeth13658_gallery9
  • Wyeth13658_gallery10
  • Wyeth13658_gallery1
  • Wyeth13658_gallery2
  • Wyeth13658_gallery3
  • Wyeth13658_gallery4
  • Wyeth13658_gallery5
  • Wyeth13658_gallery6
  • Wyeth13658_gallery7
  • Wyeth13658_Galerie8
  • Wyeth13658_gallery9
  • Wyeth13658_gallery10

Zusätzliche Ressourcen

Lesen Sie diese Biografie über N.C. Wyeth, geschrieben von Andrew Wyeth, dem berühmten Maler und Sohn von N.C. Wyeth.

"Mein Vater" von Andrew Wyeth

Lesen Sie diese Biografie über N.C. Wyeth, geschrieben von Andrew Wyeth, dem berühmten Maler und Sohn von N.C. Wyeth.
In diesem Video des Brandywine River Museum of Art können Sie das Haus und das Atelier des Künstlers in Chadds Ford, Pennsylvania, virtuell besichtigen.

Das N.C. Wyeth Haus & Atelier

In diesem Video des Brandywine River Museum of Art können Sie das Haus und das Atelier des Künstlers in Chadds Ford, Pennsylvania, virtuell besichtigen.
Lesen Sie N.C. Wyeths Briefe, in denen er Einblicke in seine Inspiration für "Summer. 'Hush.'"

Die Briefe von N.C. Wyeth

Lesen Sie N.C. Wyeths Briefe, in denen er Einblicke in seine Inspiration für "Summer. 'Hush.'"

Authentifizierung

DAllen_Seite_01
DAllen_Seite_09

Siehe Sommer.Aufnahme von "Hush"in Douglas Allen und Douglas Jr.'s Werkverzeichnis von N.C. Wyeths Kunstwerken. 

Vollständiger Catalogue Raisonné Eintrag ansehen

Fragen Sie

Anfordern - Kunst Einzel

Andere Werke von N.C. Wyeth