ConsultarHISTORIAOBRAS ADICIONALES DE LA SERIEPERSPECTIVAS DE MERCADOREGISTROS DE SUBASTASCOMPARACIONES DE SUBASTASCOLECCIONES DE MUSEOSRECURSOS ADICIONALESAUTENTIFICACIÓNOBRAS SIMILARES
Atrás

N.C. WYETH (1882-1945)

BIO DEL ARTISTA CONSULTARDESCARGAR PDF
 
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.
El verano. "Hush"190933 3/4 x 30 1/4 in.(85,73 x 76,84 cm) óleo sobre lienzo
Procedencia
Sr. y Sra. Edwin R. Wyeth, 1913
Sra. de Edwin Wyeth, hasta 1988
(Judy Goffman Fine Art, Nueva York, NY, mayo de 1991)
Colección de John Edward Dell, hasta agosto de 1995
Colección privada, Nueva York, hasta 2008
[Somerville Manning Gallery, Greenville, Deleware, abril de 2008].
Exposición
Filadelfia, Pensilvania, 1910, nº 798 en p. 51, como "Summer".
Chadds Ford, Pensilvania, 1972, nº 12; Greenville, DE, 1995
Greenville, Delaware, Somerville Manning Gallery, N. C. Wyeth: Pintor e ilustrador, del 14 de junio al 14 de septiembre de 2019
West Pal...Más....m Beach, Florida, Ann Norton Sculpture Gardens, Figurative Masters of the Americas, del 4 de enero al 12 de febrero de 2023
Literatura
Betsy James Wyeth, ed., The Wyeths, The Letters of N. C. Wyeth, 1901-1945 (Boston: Gambit, 1971), ps. 312, 313
Douglas Allen y Douglas Allen, Jr., N. C. Wyeth, The Collected Paintings, Illustrations and Murals (Nueva York: Crown Publishers, 1972), p. 275, ilustración en b/n p. 62
John Edward Dell, ed., Visions of Adventure, N. C. Wyeth and the Brandywine Artists (Nueva York: Watson-Guptill Publications, 2000), ilustración en color p. 64
Christine B. Podmaniczky, N. C. Wyeth, A Catalogue Raisonné of Paintings (Londres: Scala, 2008), I.284, p. 200
...MENOS....
Atrás
Preguntar

"Hoy he empezado a trabajar en el estudio y he tenido un día muy exitoso. He colocado el último cuadro indio "Verano", con el efecto del cielo que Babe y yo vimos en el puente..." - NC Wyeth en una carta a su madre sobre "Verano, silencio"

Historia

Surgido a finales de la Edad Dorada, N.C. Wyeth fue uno de los artistas e ilustradores estadounidenses más importantes. Sus pinturas e ilustraciones dieron vida a la literatura clásica, desde La isla del tesoro hasta El rey Arturo de los niños, entre otros. Se le recuerda sobre todo por su capacidad para captar los momentos cruciales de las narraciones, convirtiendo unas pocas palabras en una representación visual de gran dramatismo y tensión. Patriarca de la dinastía artística Wyeth, que incluye a su hijo Andrew y a su nieto Jamie, su influencia llegó a futuros ilustradores y artistas.

Tal vez su legado más importante sea la forma en que dio forma a la imaginación estadounidense: de la propia América y de las posibilidades salvajes. Las poderosas pinturas de Wyeth dieron vida a muchas de las historias que Estados Unidos contaba de sí mismo. Sus primeros cuadros plasmaron la vida del Oeste americano y algunas de sus ilustraciones más queridas fueron para novelas como "El último mohicano " o cuentos como "Rip Van Winkle". A pesar de este éxito, Wyeth luchó contra el comercialismo de las ilustraciones y los anuncios, buscando que su obra fuera aceptada como arte. A lo largo de su carrera, experimentó con diferentes estilos, pasando del impresionismo al divisionismo y al regionalismo.

N.C. Wyeth pintó más de 3.000 cuadros e ilustró 112 libros. Sus ilustraciones para la editorial Charles Scribner's Sons fueron tan populares que se conocieron como Scribner's Classics y siguen imprimiéndose hasta hoy.

Más
Preguntar
"Tengo en mente cuatro temas, 'Primavera', 'Verano', 'Otoño' e 'Invierno', todos ellos representando simbólicamente las estaciones, es decir, llevando el espíritu de la estación por así decirlo". - NC Wyeth sobre los cuatro cuadros que incluyen "Summer, Hush"

Obras adicionales que ilustran los estados de ánimo de George T. Marsh

Óleo sobre lienzo, 33 3/4 × 30 1/4 pulg.

"Primavera. Canción" (1909)

Óleo sobre lienzo, 33 3/4 × 30 1/4 pulg.
Óleo sobre lienzo, 33 1/2 × 29 1/2 pulg.

"Otoño. La espera" (1909)

Óleo sobre lienzo, 33 1/2 × 29 1/2 pulg.
Óleo sobre lienzo, 33 × 29 1/2 pulg.

"Invierno. La muerte" (1909)

Óleo sobre lienzo, 33 × 29 1/2 pulg.

CONOCIMIENTOS DEL MERCADO

  • WyethAMR
  • El gráfico elaborado por Art Market Research muestra que, desde 1976, los cuadros de N.C. Wyeth han aumentado a una tasa de rendimiento anual del 13,4%.
  • El gráfico del mercado muestra un crecimiento significativo del mercado desde 2010, y un fuerte aumento tan reciente como 2020.
  • 2 de los 3 primeros resultados de la subasta son escenas del Oeste
Preguntar

Los mejores resultados en la subasta

Témpera sobre panel renacentista, 40 x 60 pulg. Vendido en Sotheby's Nueva York: 23 de mayo de 2018.

"Retrato de un granjero (Pennsylvania Farmer)" (1943) se vendió por 5.985.900 dólares.

Témpera sobre panel renacentista, 40 x 60 pulg. Vendido en Sotheby's Nueva York: 23 de mayo de 2018.
Óleo sobre lienzo, 43 x 30 pulg. Vendido en Christie's Nueva York: 22 de noviembre de 2016.

"Manos arriba" (1906) se vendió por 4.951.500 dólares.

Óleo sobre lienzo, 43 x 30 pulg. Vendido en Christie's Nueva York: 22 de noviembre de 2016.
Óleo sobre lienzo, 46 x 69 1/4 pulg. Vendido en Christie's Nueva York: 28 de octubre de 2020.

"Indian Love Call" (1927) se vendió por 3.510.000 dólares.

Óleo sobre lienzo, 46 x 69 1/4 pulg. Vendido en Christie's Nueva York: 28 de octubre de 2020.

Cuadros comparables vendidos en subasta

Óleo sobre lienzo, 43 x 30 pulg. Vendido en Christie's Nueva York: 22 de noviembre de 2016.

"Manos arriba" (1906) se vendió por 4.951.500 dólares.

Óleo sobre lienzo, 43 x 30 pulg. Vendido en Christie's Nueva York: 22 de noviembre de 2016.
  • Más grande que Summer Hush
  • Pintado tres años antes de Summer Hush
  • Temática occidental similar
  • Publicado originalmente como ilustración del frontispicio de The Story of Montana , de C.P. Connolly, en el número de agosto de 1906 de McClure's Magazine
Óleo sobre lienzo, 46 x 69 1/4 pulg. Vendido en Christie's Nueva York: 28 de octubre de 2020.

"Indian Love Call" (1927) se vendió por 3.510.000 dólares.

Óleo sobre lienzo, 46 x 69 1/4 pulg. Vendido en Christie's Nueva York: 28 de octubre de 2020.
  • Más grande que Summer Hush
  • Pintado 16 años después de Summer Hush
  • Tema similar a los nativos americanos
  • Pintado originalmente como un encargo privado
Óleo sobre lienzo, 36 x 30 pulg. Vendido en Sotheby's Nueva York: 29 de noviembre de 2006.

"Stand and Deliver" (c. 1921) se vendió por 2.032.000 dólares.

Óleo sobre lienzo, 36 x 30 pulg. Vendido en Sotheby's Nueva York: 29 de noviembre de 2006.
  • Tamaño similar
  • Pintado 12 años después de Summer Hush
  • Publicado originalmente en la portada de la revista Life el 22 de septiembre de 1921.
  • El registro de la subasta es de hace 16 años.
Óleo sobre lienzo, 41 5/8 x 27 1/8 pulg. Vendido en Sotheby's Nueva York: 20 de noviembre de 2014.

"El esquiador (The Ski Runner)" (1910) se vendió por 1.205.000 dólares.

Óleo sobre lienzo, 41 5/8 x 27 1/8 pulg. Vendido en Sotheby's Nueva York: 20 de noviembre de 2014.
  • Pintado 1 año después de Summer Hush
  • Ligeramente más grande que Summer Hush
  • Ilustrado originalmente en la portada de la "Edición de fin de mes" de febrero de 1911 de The PopularMagazine
  • El registro de la subasta es de hace 8 años
Óleo sobre lienzo, 18 1/4 x 18 1/4 pulg. Vendido en Sotheby's Nueva York: 28 de noviembre de 2007.

"Indian Fishing" (1908) se vendió por 937.000 dólares.

Óleo sobre lienzo, 18 1/4 x 18 1/4 pulg. Vendido en Sotheby's Nueva York: 28 de noviembre de 2007.
  • Pintado 1 año antes de Summer Hush
  • Tema similar a los nativos americanos
  • Más pequeño que Summer Hush
  • Publicado originalmente en la portada de The Saturday Evening Post el 18 de julio de 1908
  • El registro de la subasta es de hace 15 años

Pinturas en colecciones de museos

"The Lobsterman (The Doryman)" (1944), témpera al huevo sobre madera, 23 1/4 x 47 1/4 in.

Museo Metropolitano de Arte, Nueva York

"The Lobsterman (The Doryman)" (1944), témpera al huevo sobre madera, 23 1/4 x 47 1/4 in.
"El cazador" (1906), óleo sobre lienzo, 38 7/8 x 26 5/8 pulg.

Museo de Arte del Río Brandywine, Chadds Ford, Pensilvania

"El cazador" (1906), óleo sobre lienzo, 38 7/8 x 26 5/8 pulg.
"They Took Their Wives with Them on their Cruises" (c. 1938), óleo sobre tabla, 34 x 24 pulg.

Museo Peabody Essex, Salem, Massachusetts

"They Took Their Wives with Them on their Cruises" (c. 1938), óleo sobre tabla, 34 x 24 pulg.
"The Hayride" (c. 1912), óleo sobre lienzo, 47 x 35 pulg.

Museo de Arte Farnsworth, Rockland, Maine

"The Hayride" (c. 1912), óleo sobre lienzo, 47 x 35 pulg.
"Prestonegrange" (c. 1924), óleo sobre lienzo, 39 x 24 pulg.

Museo Nacional de Ilustración Americana, Newport, Rhode Island

"Prestonegrange" (c. 1924), óleo sobre lienzo, 39 x 24 pulg.
"Tiroteo" (c. 1916), óleo sobre lienzo, 33 1/2 x 24 5/8 pulg.

Museo de Arte de Denver, Denver Colorado

"Tiroteo" (c. 1916), óleo sobre lienzo, 33 1/2 x 24 5/8 pulg.
"Espero que nunca llegue el momento en que me sienta satisfecho. Alcanzar la meta de las propias ambiciones debe ser trágico". - N.C. Wyeth

Galería de imágenes

  • Wyeth13658_gallery1
  • Wyeth13658_gallery2
  • Wyeth13658_gallery3
  • Wyeth13658_gallery4
  • Wyeth13658_gallery5
  • Wyeth13658_gallery6
  • Wyeth13658_gallery7
  • Wyeth13658_gallery8
  • Wyeth13658_gallery9
  • Wyeth13658_gallery10
  • Wyeth13658_gallery1
  • Wyeth13658_gallery2
  • Wyeth13658_gallery3
  • Wyeth13658_gallery4
  • Wyeth13658_gallery5
  • Wyeth13658_gallery6
  • Wyeth13658_gallery7
  • Wyeth13658_gallery8
  • Wyeth13658_gallery9
  • Wyeth13658_gallery10

Recursos adicionales

Lea esta biografía de N.C. Wyeth escrita por Andrew Wyeth, célebre pintor e hijo de N.C. Wyeth.

"Mi padre" de Andrew Wyeth

Lea esta biografía de N.C. Wyeth escrita por Andrew Wyeth, célebre pintor e hijo de N.C. Wyeth.
Recorra virtualmente la casa y el estudio del artista en Chadds Ford, Pensilvania, a través de este vídeo del Museo de Arte del Río Brandywine.

Casa y estudio de N.C. Wyeth

Recorra virtualmente la casa y el estudio del artista en Chadds Ford, Pensilvania, a través de este vídeo del Museo de Arte del Río Brandywine.
Lee las cartas de N.C. Wyeth en las que comparte su inspiración detrás de "Summer. 'Hush'".

Las cartas de N.C. Wyeth

Lee las cartas de N.C. Wyeth en las que comparte su inspiración detrás de "Summer. 'Hush'".

Autenticación

DAllen_Page_01
DAllen_Page_09

Vea el verano.La inclusión de " Hush" en el catálogo razonado de la obra de N.C. Wyeth de Douglas Allen y Douglas Jr. 

Ver la entrada completa del catálogo razonado

Preguntar

Consulta - Arte individual

Otras obras de N.C. Wyeth

También le puede gustar

No se han encontrado resultados.